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Hello, I'm John Baptist and I'm here today to answer your questions from the internet.
0:12
This is piano support male curve.
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All major keys are created equal, but E flat is the best.
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That's not a question, but I agree.
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It's funny you say that, Mel, because E flat is my favorite key.
0:32
Listen to the way that you can make it moan.
1:19
E flat is different from other keys because if you want technical explanation, it has three flats, but the tonality of E flat, it's a brown shade that really creates a sense of warmth.
1:35
D flat feels like mother earth and then E flat feels like the tree that's coming from the ground.
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So, it's the roots that are dug into the soil.
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So, there's a bit of an aspirational quality to it.
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Whereas if you listen to D flat, it's home boom space.
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But then when you go to E flat, it's still grounded, but you know, it's like come with me.
1:50
Can you see?
1:50
You know, so it's like it's one of my favorite keys because I like to keep my feet on the ground but my eyes to the stars.
2:22
Edwin Castle's question: What was the one thing that really improved your music making?
2:27
Okay, Edwin, what's one thing that really improves my music making is listening.
2:31
That's the constant thing of life is how do we listen?
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How do we listen deeper?
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How do we listen in a way that is both passive where we're not participating in speaking or playing, but is also active because we are just as engaged as if we were speaking or playing?
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So, it's the thing of listening.
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If you figure out how to do that, everything improves.
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If you practice scales, you know, if you practice a scale or if you practice arpeggios or something or if you practice playing the blues, you know, it's all about listening because it's infinite.
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There's infinite ways you can practice scales and arpeggios and practice playing different styles and you can listen to a piece and learn something about it every day of your life and just it's infinite.
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So, how do I listen better?
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How do I practice that?
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Or how do, how did that improve for practicing it everywhere you are all the time?
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Even when you're not playing, especially when you're not playing.
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So, yeah.
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Open the mirrors up.
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Go ahead, Edwin.
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You got it.
3:33
Micro Burrito One: What's your favorite type of piano music to play?
3:43
Well, my favorite type of piano music to play is like blues.
3:56
You know, I love this sound.
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It's a party.
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It is love and sound.
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So, you know, I play that kind of music a lot.
4:16
Also like playing, you know, just some mellow kind of, you know, Oh, you know, all kind of stuff, man.
4:48
I've been playing a lot of Bebop lately.
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Arguably one of the most, if not the most sophisticated form of music ever invented.
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It's the peak.
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Musicians take all of the logic of counterpoint and all the logic of the American popular song and blend them together in this form of co-creation that is lightning quick within music form.
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You have melodies that are happening.
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There's a rhythmic basis to Bebop too that makes it very very distinct.
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It's the two and the three.
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There's a lot of triplets and there's a lot of rhythms that are going between eighth notes and triplets.
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And you have a scale that is uh, there's different forms of what we call Bebop scales that are made so that you can land throughout the changes in ways that are graceful and that match the changes.
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So you're doing all of this weaving and melodic construction in the context of the rhythm section that's also doing that.
6:07
The drums are playing rhythms and reacting to what you're playing and vice versa.
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The bass is playing a walking line on every beat and that's a low melody.
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And then the piano is creating all of this different counterpoint to everything that's happening.
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And everybody's doing that.
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At least at, at one time there's four people that are creating counterpoint together.
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Alpha Q984: Recently my piano teacher asked me to add more feel to my playing.
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Okay.
6:38
So Bebop is about feel alpha.
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You see we're talking about Bebop.
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So like you got to have a certain kind of like uh that kind of so like so that you could play that without feel like or you could do like so it's like it's hard to describe feel other than rhythmic intention and clarity of execution.
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So if you wanted to talk about feel and how to get your feel better, start with getting your rhythm better and your execution.
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And then even like when I was just playing it, like I'm just throwing it off right now.
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If you even when you make a mistake, if your, your intention is there and the execution is almost there, it's gonna come off better than if you're playing all of the right notes, but it was kind of iffy rhythm.
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And so feel is really starts with rhythmic intention and matching that level of intensity of your intention.
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You know exactly how you want to play it, what swag you want it to come off with, matching that with all of the right notes.
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So that's what you got to do.
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You know what I'm saying?
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Ah, Mitch MGJ: What's your practice routine?
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How can I practice more effectively?
8:41
Document your practice.
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Document your progress and your observations.
8:41
Think about what you're doing from the perspective of constructing yourself.
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You're building your ideal version of you and you look at the things that you, you want to do and you look at the things that you can't do and you figure out how to bridge the gap between those and close it a little bit each day and you decide okay these are my objectives that's the points that I want to reach and then you go after those very methodically there's no such thing as failure it's just discovery so you try different things and then obviously the fundamentals.
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That's the best way to continue to improve to learn.
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See, that's a C triad.
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There's so much in there.
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The fundamentals every day you can just learn something about the fundamentals of music.
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Learn something about music making from reading a biography or sitting at the piano and just playing the C major.
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Because sometimes I would do that while I play a chord.
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And I'll just sit and listen to it with no objective other than to listen and let it reveal something to me that maybe I haven't heard.
9:56
Get acquainted with the instrument and with music like it's a friend, like it's a part of you.
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There's just so much that you can do to absorb it.
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Just be about it and you'll find it.
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Seek and you will find.
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Oh yeah.
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Yeah.
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And then just play.
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Always remember to play like the child.
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You see?
10:30
Huh?
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Let's see.
10:37
Wow.
10:39
512: How do you make catchy music?
10:41
Well, how do you make catchy music?
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Listen to catchy music.
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How do you learn how to do anything in this human form?
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By absorbing the frequency.
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By absorbing the energy of the thing.
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You embody it.
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You physically absorb it.
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You synthesize it within yourself and then you become a vessel for it.
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So you have to exist within the world of the thing that you want to become.
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So music is such a manifestation of that concept because you can't hold music.
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You can look at sheet music but even the notes on the page are not the comprehensive representation of what you're hearing.
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There's all kind of nuances in inflection and there's all types of intention behind notes that can't be written down.
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So what that means is you can't study it as much as it's a matter of embodying it.
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Certainly you can listen and study and there are formulas and formulas work but formulas are just representation of things that exist on a frequency and if you figure out how to tap into that and receive that frequency on a regular basis and you can find other people who are on that wavelength build a community of people who are into that too because that's how you compound the energy and then all of y'all going to start embodying it.
12:09
If you think about songwriting and the catchiest music of all time is often written in a duo format or a trio format.
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It's just the way it is.
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Even if you think about people who are incredible artists in their own right, Michael Jackson and Quincy Jones, Gamble and Huff, Rogers and Heart, there's always even the person who makes the music that's catchy.
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If it's like Irving Berlin or something, it's always about finding the singer or the arrangement, the arranger.
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Music is a communal activity.
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It's a communal effort.
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So find your people and people that are on that same frequency, that wavelength that y'all are complimentary to each other and then let the ego out of the room.
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The ego is great to have so you could be confident in yourself, stand up, play your music, da da da da.
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It's great, but you want to just put it to the side and leave space in the room for God to walk in.
12:42
And that's when it's Oh, snap.
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Like, what's happening out the speaker?
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It's just getting me.
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Oh, it's catchy.
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It's catchy.
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It's catchy because you've been caught by it.
13:19
Oh, okay.
13:23
Atomics, Andy: Why do pianos have keys?
13:27
What's locked?
13:29
What are the pianos hiding?
13:29
So, see this is a bit of a pun.
13:32
The piano keys, you know, I would say if you want to go all philosophical, the pianos have keys because music is tied into the universal divine alignment of all things which we see in mathematics some.
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But music speaks to the unspoken within that language.
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And it also speaks to mind, the heart, and the spirit all in one.
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Each key is a key to life.
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And then you put them all together and it's like a beautiful equation of living.
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So that's why people make songs and create music because it speaks to something that's greater than ourself and it's a great way to create a shared body of our collective wisdom over time.
14:08
Generations pass on songs and melodies and rhythms and all these things.
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And the piano does it all because it's actually a percussion instrument.
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It's hammers in there.
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So it's not just keys, it's hammers.
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Hammer time.
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Silo: Explain like I'm five, what do the pedal on the piano actually do?
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How do they do it?
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Okay.
14:08
Well, it's deep because this piano has two pedals.
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The modern piano typically has three pedals.
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So, I'mma explain it in a way where you'll have to imagine what the middle pedal does.
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Each string has a hammer, a mallet that strikes the strings to create the, the tone.
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Now, there's a felt on the top of each string, and it's a set of three strings that create the tone of each note.
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Now, if you press this, the pedal that's all the way to the left, what it does is it shifts the entire pedal board over so that you're only attacking two of those strings.
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So, the tone becomes felted.
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It becomes dampened.
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It's like you put a blanket on it.
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It's lovely.
15:14
It's a beautiful, like, check out the difference.
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This is without, without it.
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Then you play the pedal all the way to the left.
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You hear the difference?
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It's like a string of pearls.
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Okay.
15:28
The middle pedal is sustained without reverb.
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So, we don't have a middle pedal, but the middle pedal is typically what sustains whatever note you play at the same time as you activate that pedal.
15:44
So if you play all of these notes, it would sustain them all and then the rest that you play on top of it wouldn't be sustained while that would continue to ring out.
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The pedal to the right is the sustained pedal.
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So as long as you hold it, everything is sustained.
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Now, now what that does because of the way that it's sustaining, you see how it lifts every single mute, every single felt away from the string so that it's not possible for it to be muted.
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It sustains the whole body of the instrument.
16:18
Well, what does that do?
16:18
It also creates reverb.
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That's less talked about.
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It sustains the notes, but the middle pedal doesn't create reverb, and this one does.
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And that's because of the mechanism of how it happens.
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So actually for me when I think about the sustain pedal I, I think that's a misnomer.
16:32
I think it's actually the wrong name for it.
16:36
It should be the reverb pedal.
16:36
The middle pedal is the sustain pedal and the pedal to the left is the damper pedal.
16:44
But it has a certain sort of tonal quality to it.
16:46
So it's not really dampening.
16:49
It's rounding out the edges.
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When I see the sound in my mind, it goes from a sharp pointed edge to a rounded edge.
16:55
And that's a great way of thinking about it in your music expression.
16:56
A Reddit user asked us, "Did Ray Charles basically single-handedly invent soul music?"
17:03
Ray Charles was the architect of it.
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Nobody put it together in the way that Ray did in 1959, for instance.
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He put all of the elements together.
17:09
He was the architect of it in a way that allowed for us to have a shared language for it in a shared way about how we present soul music to the world.
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The elements of soul music existed.
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People were singing elements of it in different forms of our history.
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Sam Cook popularized it as much as Ray Charles.
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There's so many different examples of proto soul music, but soul music was Ray Charles.
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You can't argue that Ry was the architect of it.
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And I'm a son of Ray Charles.
17:44
You see, taking those kind of chords, gospel chords, you say, "Oh, yeah."
17:53
That old, that, that, that inflection to give me money when I'm in need to the kind of like that kind of cry field holler mixed with the, the jazz in the horn section.
18:09
Friend indeed.
18:09
It's just all, it's so brilliant like that thing that we all know.
18:16
Hit the road, Jack.
18:16
Imagine hearing that for the first time on wax.
18:27
Just like we, we take it for granted now, but just like, you know what I mean?
18:32
Like it's not normal.
18:34
This is just, this is a whole 'nother, yeah.
18:41
Yes, single-handedly.
18:41
We could say that.
18:41
You can say that and be safe.
18:41
Cerception 2017: What are the essential piano repertoires that every pianist should learn?
18:41
That's a deep question because this piano, it exists in so many musical traditions.
18:41
It's the orchestra at your fingertips.
19:06
So you can play anything, almost anything can be played on the piano.
19:10
What's essential out of everything?
19:14
It's such a personal question how you want to philosophically approach it.
19:17
Do you want to make a whole repertoire list of things that you know that you'll probably be able to grasp quickly and connect to the things you naturally do well, or do you want to go in the opposite direction and try to learn a whole bunch of stuff that is just almost feels averse to your musical approach and almost is like another language?
19:37
I think both are very valid.
19:40
Then you'll figure out what's essential through that process.
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There's no right answer.
19:44
People might say you, you should learn, you know, like people always play, you know, or even if you're playing jazz, the blues.
20:03
Yeah.
20:03
Beetho, all of it's good.
20:07
Everything.
20:07
A Reddit user asked the question, "Best official piano arrangements for video game soundtracks."
20:16
Final Fantasy 7, I would say, is probably the greatest soundtrack of a video game ever.
20:20
Nouiatsu, incredible.
20:24
And also the, the Capcom series of games I listen to, whether it's Mega Man, all the series, the whole expression of, of, of themes in these games shaped my compositional, my compositional mind.
20:37
Uh, Green Hill Zone Sonic the Hedgehog level one that melody.
20:54
So I did arrange, that's when the strings come in.
21:15
I had my, I just had an idea to write a string orchestration.
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I wrote it in a taxi on the way to the studio.
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So, you just got to listen to the recording.
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That's all the questions.
21:32
John Baptist signing off.
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I'm so glad that you are here.
21:35
I hope you had fun.