Prince Luci would have been difficult to share

@@xander1052 I don't know which one of these two comments is better

@@xander1052 ahhahhahh

@yarn rav No kinkshaming.

we all do

Qiaoxuan loh never forget the “dug dug dug pah! Dug pah pah pah chik!”

Just read this as it was said in the video

The goung goung goung is essential

@@nenissaK me too! goung goung

When I used to play in that town orchestra the conductor only communicated melody through dadadadadad adadad dadada

Except some people dont like edging...

Oh jeez

That fucking word

Try changing chords in a drone metal song. THATS edging.

hahaahahaha

bro same

bro same

Bro same

bro same

Bro same

he still accompanied his own happy birthday song though

D. always D

oops I mean G. start on D

It hink Happy Birthday SHOULD start on B. (As also H is(?)/was(?) B for some germanic/nordic/slavic countries)

​@@therealpepeu In Hungary B flat is called "B" and B is "H"

Those kinda puns are hanging offenses in some places, sir.

Stop

Yes

sixtynice

i guess it's because i'm a dad, and this is a total dad joke, but i laughed so hard at this...

Joe Dart would like to know your location

it is only very rarely observed out in the wild

Ahahahah, nice one

I think people who dig jazz generally appreciate all the instruments and players more than the general public

Jesus that loooow note sank me through the floor.

He's a bass god. This is just his human form.

What I like about his performances, is the fact he can play so well and in the pocket. Not necessarily complicated all the time, he plays what's needed.

FINALLY THE CROWD DONT TALK AT A BASS SOLO

@@joshjbradburn complicated = cringe vibe and you have the perfect song

Sean McKean yeah I have to imagine he’s done it a lot. It was incredibly impressive

Honestly its more credit of how much of a good drummer he is. He makes sure he's always on time and prepared. No matter what happens because he prepares for the unexpected. 10/10

14:21

17:54

is bass meant to be read like the outro

thatsthejoke.jpg

Davie504 approves

100% intentional. Grace was all over the place, lol

And moving thst much on stage... great physical condition

That's what no smoking and good physical condition gives you. freedom

@@blazbohinc4964 sure not smoking and good physical condition are good but to do what she does she obv just has strong/big lungs

@@trackmaniaIIDX She probably does it a lot. The skill builds over time. Additionally, you can do breathing exercises to help

PUMPLE mate i have strong lungs and it helps with fuck all

Yeppp

Wait why? What a so important about 4:33?

@@bgl1335 Check the song 4'33''

It was so close to 4:32, but I'm afraid that Grace wasn't tuned to the resonance of her chakras...

okay, no one else like this post. It’s at 433.

I think the audience almost begins to hear Phrygian Dominant with the way that Grace solos, which almost always wants to point back to I, regardless to how long it's played.

@@lumensnn I notice that, no more tension just flamenco scales hahahaha

Some violin cadenzas go on for huge amounts of time and still manage to give a sense of resolution at the end, I guess historically we’ve kinda evolved to keep tonic much longer when there is just a soloist playing

I skipped right to the end so I had no idea what key we were in so I was hearing it as a tonic until I went back and got context

For me (presuming I’ve had time to settle into the key), V7’s are a lot more like having to pee. Holding it longer just intensifies my desire for the release. ...maybe that’s why they call it “going #1”

Requisite Sting bounce.

Patrick Murray lol this came from the video about all the single ladies

When it finally resolves some dude in the audience physically can't hold in the YEEARH

Now that's my Metal Band song name right there...

came for the Beethoven mention

Talking over a bass solo: get it cause the bass never gets a solo

Talking over a violin concerto: ah, ah, GET OF- Patrons: *Nodding so as not to disturb soloist*

Where's the fun in that? XD

*can you feel the love tonight intensifies*

Stephen Donovan Multi-tonal Happy Birthday

My lord, is that legal?..

i’m pretty sure happy birthday is the one song you actually are meant to play in all keys at once, not just all 12 but microtonal ones as well

You can say that again!

Tour Tetris

There are few things as satisfying as a well-packed trunk

Just goes to show you can have 4+ minutes of music be interesting without even changing chords.

@@BigDaddyWes pops still boring.

@@-arche-7926 why be so negative?

@@BigDaddyWes My favourite case-in-point, Sunn 0)))

@@-arche-7926 What gave you the impression that they played four minutes of pop at the end there? It's been a while since I've turned on a radio but I'd be surprised if Katy Perry is doing much instrumental minimalist jazz improvisation these days.

Christopher Haney in traditional western music theory, specifically within diatonic music (i.e. according to the rules which govern 99% of the music you and I would probably hear most of the time), music is usually organised into ‘keys’ (or ‘modes’ or ‘tonalities’). This means that a certain note is taken as the base starting point or ‘root’, and a diatonic scale of 7 distinct notes is built from that root (the specific, usually predefined pattern of tones and semitones which results in this scale determines whether the scale is major, minor, or other). Therefore, when we have music written in any diatonic key or keys, we can refer to any note within that music by its relationship to the root note of that key. Typically this is done by the use of Roman numerals between 1 (I) and 7 (VII). Put more clearly: if the music is in a key, we can write out the 7-note diatonic scale that represents that key and give each successive note in the scale (or ‘degree’) a number going up from 1 to 7. For example in C major we have the 7-note diatonic scale of C (I) - D (II) - E (III) - F (IV) - G (V) - A (VI) - B (VII). Within diatonic music, harmony is essentially derived from triads. Triads are chords of three notes and in diatonic music they always follow the same structural pattern of ‘note, up two degrees, up two degrees’. For example, looking at the example key of C major I’ve written out above, we can use this formula to determine the basic triad of any degree of the C major scale. For example, the triad of C within C major is C (I), up two to E (III), up two to G (V); the triad of G within C major is G (V), B (VII), D (II). We can therefore refer to any basic triadic chord within any diatonic key by saying ‘the II chord’ or ‘the VI chord’, etc., which circumvents having to work out the specific note name of the chord within the specific key we are in at any point. This is useful also because often in music we want to refer to a chord in terms of its function in or relationship to the surrounding music, and a Roman numeral name immediately informs us of a chord’s function and relationship, whereas a note name does not innately do this (although if we know the key signature then we can work out what any named chord’s function and relationship is by comparison with the key signature - but using Roman numerals does exactly the same thing innately, i.e. without any need for any working out). I’ve talked about basic triadic chords, but we can also expand any basic triad into a number of different ‘7th’ chords by just adding another ‘up two degrees’ to the end of the chord. The more proper way of describing this method of constructing diatonic chords is to say that we stack thirds. The reason for this is that when we go ‘up two degrees’ from any note in the chord to get to the next note in the chord, we are creating an interval of a third. (If you go up one degree from any note, the interval is a second; if you go up three degrees from any note, the interval is a fourth; etc.) Depending on which degree of the scale you start on (and on what type of scale you’re in), going up a third will create either a major or a minor third. In C major, going up a third from C to E creates a major third, which is an interval of 4 semitones; going from E to G is a minor third, which is an interval of 3 semitones. By these examples we can also see that any major triad (e.g. the chord of C within C major) is constructed by stacking a minor third (E to G) on top of a major third (C to E). Still in C major, if we instead stack thirds from the third degree, E, we have just seen that E to G is a minor third. Going up a third from G to B, the interval is four semitones, which we know is a major third. Therefore, we can now see that any minor triad (e.g. the chord of E within C major) is a major third (G to B) stacked on top of a minor third (E to G). Finally, we can now discuss the types of 7th chords. There are four (main) types of 7th chords, because we can stack either a minor or major third on top of both a minor triad and a major triad. All the following examples assume the key is C major:- 1. A minor triad with a further minor third stacked on top is called a ‘minor 7th’ (e.g. E - G - B - D) 2. A major triad with a further major third stacked on top is called a ‘major 7th’ (e.g. C - E - G - B). 3. A major triad with a further minor third stacked on top is called a ‘dominant 7th’ (e.g. G - B - D - F) 4. A minor triad with a further major third stacked on top is called a ‘minor/major seventh’ (e.g. E - G - B - D#, or, C - Eb - G - B). Note that it is impossible to get this chord by sticking only to the diatonic notes of any one key: you have to sharpen or flatten one note of the chord (i.e. you have to use one non-diatonic note or ‘note from outside the key’ to achieve the correct pattern of minor and major thirds.) We call these 7th chords because if you take the root of any 7th chord as the first degree of that chord (I), then the following degrees of that chord in order are 3 (III), 5 (V), and 7 (VII). In other words, 7th chords are named as such because you create them by adding an interval of a seventh on top of the root of a triadic chord. For example, C major 7th is C (I), E (III), G (V), B (VII). Number 3, the dominant 7th, is denoted simply by adding a 7 to the end of a chord name. For example, in C major, the chord of G dominant 7th would be denoted as ‘G7’. In C major, the chord of G dominant 7th is also the chord which is naturally built by stacking diatonic thirds on top of G, i.e. by just keeping on ‘going up two degrees’ without altering any degrees of the scale, just like when you build up naturally from C you get a C major 7th chord and when you build up naturally from E you get an E minor 7th chord. FINALLY, we can therefore know from the previous example (because G is the fifth degree (V) of the scale/key of C major) that in any major key, the seventh chord which can be built by naturally stacking diatonic thirds on top of the fifth degree of the scale is a dominant 7th chord, and so we can refer to this chord within any major key as being **the V7 chord** : a dominant 7th chord built on the 5th degree of the scale/key. Edit: this last paragraph is just slightly misleading because to an extent I imply that ‘V7’ can only ever specifically refer to the dominant 7th chord built on the 5th degree of the scale *in a major key* . ‘V7’ actually refers to a dominant 7th built on the 5th degree of the scale *in any key* , it’s just that in a minor key (and in many keys/modes that are not major or minor), getting a V7 requires raising the third degree of the chord by a semitone from the natural note of whichever minor key you’re in, i.e. the V7 requires a non-diatonic note when you’re in a minor key, rather than being naturally built up like when you’re in a major key. Interestingly, this requirement is not an unusual one because raising the seventh degree of a minor key, i.e. raising the note of the V chord which you need to raise to make a V7 chord in that key (the seventh degree of any key can also be called the third degree of any V chord of the same key), is extremely commonly done within diatonic music. In fact, it is more unusual to find a V or V7 chord within a minor key in which the seventh degree of the key/scale (the third degree of the chord) *hasn’t* been raised. For example: let’s change from C major to C minor. The scale of C minor is C (I) - D (II) - Eb (III) - F (IV) - G (V) - Ab (VI) - Bb (VII). You can see there are now three flats in the scale, compared with the 0 flats/0 sharps of C major. One of these flats is the seventh degree of the scale, which is now Bb. Now, therefore, when we build up a seventh chord from the 5th degree of the scale (which is still G, like it is in C major) using the natural, unaltered, diatonic notes of the scale, instead of getting a G dominant 7th chord we get a G minor 7th chord: G (I) - Bb (III) - D (V) - F (VII). The only difference between this and the G dominant 7th is the third degree of the chord (or the seventh degree of the scale/key), Bb. If we simply raise the Bb to a B, the G minor 7th chord is now a G dominant 7th. Jesus Christ that took so long and I got so goddamn carried away. Sorry for the dissertation, but I hope that’s about as thorough an explanation of ‘V7’ as you’re likely to get (although there are even still some elements I’d like to go over, such as the extreme commonness of the V7 and how absolutely crucial its harmonic function is to all diatonic music, but I’ve already written far too much).

@@joshburns1777 I appreciate the explanation!!

@@joshburns1777 That's some great effort there. Mad respect.

@@joshburns1777 I feel shame to read that for free Thanks man

@@joshburns1777 Me seeing the comment thinking "that's a quick read"...then I clicked "show more"

no one really cares

@@ricardogaideski7102 I do. I do a lot.

I do.

I raise you this I see Adam Neely posting a new video, I click

@@ricardogaideski7102 Your name is literally a short form of "no one"... So you really care, I take it?

Partially because that booty always shaking

@@nanayawberko3212 wow. really? Not because of her musical talents? Shame on you!!!

Gabriel Harrison He did say "partially" 🤷🏾‍♂️

@@nanayawberko3212 def not that. she has a crazy stage presence

Lol What? Your comment is written in an unnecessarily strange way. I think I know what you're trying to say though.

I mean, he is a bassist.

@@the_original_Bilb_Ono You know this part of the brain you're using to judge someone whose first language isn't English? Shut that down and use it to read, it'll get easier =)

@@launder0 I mean sure, English isn't my first language, but what did I write in my comment that isn't "standard" English and made it "weird"?

Long sentences look weird to native English speakers. Also, I believe the verb time (?) You used is kind of unusual, but i don't know if i could do better haha

As apposed to 5? That's a banjo friend.

@@Guitarisforgrins As opposed the the 4 string one he normally plays.

Checkmate bassists

*_Flashbacks to 7-string days_*

I would genuinely kill to see Adam play a 6 string bass, just to see what he could come up with, I know he's not a flashy player and more focuses on groove and composition, but I think he could do some incredible things.

Oh damn. I didn't even realise. What the hell. Does she practice playing while jogging up mountains?

Circular breathing I believe she was able to keep it even longer up

@@DaveYognaut she posts practice videos on Instagram sometimes, she basically does actual exercise while playing bari

It's true though, we can tetris like crazy when it comes to packing cars XD

Ben jij Dutch? Kan het niet echt zien aan je naam hahah

Ik dacht precies dat toen ik dat vage accent hoorde. Hah ik wist het nice!

That's a common blues phrase, but they were probably also paying attention to her body language.

You can hear her about to go back to the I chord, her body is literally moving towards a downbeat on 1, and she's moved back into the center of the stage, where she was for most of the performance. She also turns her body to the drummer a bit, so the drummer can see her sax move downwards and onto 1. Basically, she says in a bunch of different ways: yo i'm going back to the tonic. Takes a bit of practice and a bit of experience, but it's an easy enough thing to pick up on.

After a certain amount of time playing with people who improvise, you start to pickup on body language, international signs for things, that sort of thing. So you can improvise with most anyone once you know what to look and listen for. That part she played at the end right before the resolve was a hand holder. It would be hard NOT to resolve on that note after hearing the way she walked down to it.

Feel mah dude

most likely they planned that line she played to be the ending cue

Truly outstanding schlep.

hold your HORSES! *me trying desperately to hold my hoers*

agreed

nah

Agreed, the editing was really good!

underrated comment

this is would watch. oh wait just did.

YES PLEASE

>50% of time spent being a performing musician...then there’s the waiting LOL

@@fivebyfivesound And the printing/copying of music for those who don't use iPads lmao

Yea, I'd watch that for at least 20 minutes and 37 seconds at least.

yeah i would love to see more about the modern jazz scene in New York

Carlo Garella If only Adam was a part of that scene. Sadly, it doesn’t seem like he is.

@@noahv8671 new series, adam neely-infiltration

@@Dudeguy217 METAL GEAR NEELY

Yeah, not to say Adam couldn't 'hang' with that scene, but it doesn't seem like he is stylistically going for with his music right now...

Leo P intensifies

go look up her duet with leo p

I would call that a saturday night live house band type song

kzfaq.info/get/bejne/a5amf5Smpr7SZ6c.html

Check out Caleb canatheviphth for real wind instrument headbanging

Well carrying in german is also called "schleppen".

@@eliasschneeberger1337That's because Yiddish it's closely related. To me it seems more intelligible than some Swiss-german dialects. But 'to carry' would usually be translated with "tragen". "Schleppen" is used for draging something annoyingly heavy. And it can also mean to tug, e.g. a tugboat is a "Schlepper", which can also mean someone who gets people across boarders illegally ... there are also "abschleppen, anschleppen, verschleppen und Schleppe" with a multitude of specific meanings ... isn't German fun? :-)

@@SamGamgee8012 Well as german is my mothertounge I actually know the differences.

As a musician, you don't get paid to play, you get paid to schlep your gear.

"Schmuck" is more satisfying IMO

Hey, how's college going for you, champ? Love your stuff as always.

@@lifeontheledgerlines8394 aw thanks for asking. It's going pretty well. Jazz Band is a lot more fun than in HS cause everyone is passionate and practices a lot, its challenging me and thats cool.

@@AndyChamberlainMusic Yeah, that's good to hear! I'll be off to college soon myself (not that soon, I'm a sophomore in HS right now) and I'm glad that you're doing well. And also that you're keeping up your music stuff even with your double major and all, that must be pretty hard to juggle.

@@lifeontheledgerlines8394 yep, I am still writing and stuff but the volume is so much lower. I havent posted a video in over a month now... but I am definitely working on stuff.

@@AndyChamberlainMusic Yeah, academics come first dude. Whatever works for you is good, we'll just wait for the notification bell to ring. Good to hear that you're doing well, and I hope you have a nice day!

Performance via Ouija Board.

I at least wanted to see a man with a metal helmet being pinged by firearms.

sometimes you gotta take one for the team :)

@@flipwazabe Nou, wat gezellig allemaal

someone mentioning de, and neely noticing it? WE ARE GROWING

We've found the fifth Delawarian of all time!

Good luck. Go do what most of us didnt have the courage to do

Good luck. Rooting for you.

jazz is the bomb

@@ioioire4684 DEFGECD

Play an instrument?

This hits different a year later

@@berg5714 omg it's been a year wow I remember watching it like few weeks ago 🙃

Dude yes she is SO GOOD

Are you sure about that chief?

Caleb Congdon yup

This ain’t alto.

She seems to take a lot from John Zorn, though.

@@MrCatchi She played alto and soprano

You will fell that way again, undoubtedly. It's a sad fact that when it come to pursuing ANY hobby as a career, but music is unfortunately very prone to creating these types of scenarios. Simply due to the insane over-saturation of the market now and there being SO MUCH available for musicians to produce on their own, and spread their music online for free, with no need for labels. So, what does all of this mean for you? PLAY IN PUBLIC AS MUCH AS POSSIBLE. BE EXTRAORDINARILY KIND TO EVERYBODY YOU MEET, EVEN OUTSIDE OF MUSIC, BUT ESPECIALLY THOSE WHEN YOU'RE MEETING IN THE CONTEXT OF MUSIC. This will help you in so many different ways down the road. Ways that aren't even remotely apparent when it occurs. But I've experienced and seen it multiple times. Getting your name out in real life will work fucking wonders for your career and chance of success overall.

@@JohnDoe-zq1ho Thanks man, taking this to heart. Means a lot.

pothead :)

That was incredicle, yes O.o

They have truck stops all around the east too

Pfaeff Makes sense, since yiddish has german and hebraic roots

Same. I'm on Bestgate. So madddd

While only (only) 3:20 long, the Coltrane cadenza on I Want to Talk About You from Live at Birdland came to mind.

Christian Vennemann glas my classical people are here.. feeling lonely

I'm so jealous of Leo P's energy and lungs at the BBC prom night you could think he was on coke

which one?

@@Rouleaux the little montage of zoomy gear shots. It reminded me of Andrew Huangs sequences of the same description.