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What's up, everybody?
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My name is Jacob Klier and I'm a musician, and I'm here to answer some of your questions from the internet.
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This is instrument support.
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This is a question from Rachel Gaza1: Why does a piano have 88 keys?
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It is indeed the case that there are 88 keys on the piano.
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Should we listen to them all one by one?
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And over the last few hundred years, composers have sought an increasing amount of range to work with in their compositions.
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So this note here, the C8, this is 4,186 Hertz, which is actually a very high note.
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And this note here, which is A0, is 27.5 Hertz, which is a very low note.
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Human beings can hear from about 20 Hertz to about 16,000 Hertz, which is a great deal of range.
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So the piano covers like a hefty amount of that.
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So yeah, 88 keys and much discovery to be found.
0:37
Here is a question about guitars.
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Here's a guitar.
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This question is from @Hater: Why do holes in guitars exist?
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They are annoying when things fall into them.
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It is actually annoying.
1:05
I've lost plenty of my belongings; I've lost passport, keys, all sorts of stuff.
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And when I play a chord, the whole body of this instrument is vibrating.
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The best sound is actually kind of inside the instrument.
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A hole in a guitar existed that the sound can project.
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A question from @TeacherOnTopic: How does a theremin make music?
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Is it through science or from being haunted?
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Valid, valid question.
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This, in fact, this is a theremin and to rig this up, I think I just need this, which is one of two antennas that makes this work.
1:35
I'm going to put this into here, ah, and then power's on the back, right?
1:44
Okay, so the way this instrument works is by generating two electromagnetic fields from two antennas.
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So this is one antenna and this is the other down here.
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This one controls volume.
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So the further my hand gets away from this, the louder the sound.
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And this one controls pitch, which is kind of neat.
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I'm not a masterful player, but it's in that process that you generate notes and things, which is beautiful.
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Our bodies conduct electricity.
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What these antennas are measuring are essentially the electricity that our bodies are conducting.
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So it's a kind of a beautiful process of measuring and proximity and things like that.
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But anyway, maybe they're also haunted.
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This, this is freaking me out slightly.
2:30
@PapaGibby, please, what is treble?
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And there's not even a question mark at the end of this question, so it's really kind of quite candid.
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Treble is the word that we give to the very high sounds in music.
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You have bass, like all those low sounds, that those bass frequencies.
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Got some frequencies in the middle, these ones, and up here this is, this is the treble end of the sounds.
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Yeah, so basically treble is high.
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I could have just said that, treble is high.
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Okay, here's a question from @PeculiaYetReal.
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Guess that's me too.
2:44
Do people know what a rhythm section does?
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People do know what a rhythm section does.
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I know what a rhythm section does.
3:03
A rhythm section is the part of the band or the part of the ensemble that plays the kind of the underlying rhythmic parts that create the body, the bed of the sound, over which other things can happen.
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So say you're in a big band, the rhythm section comprises of the drummer and the bass player, the guitar player and the piano player primarily.
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And that provides the underbelly of all of those horns, flutes, trumpets, trombones, whatever you have in your big band, the rhythm section is the part that like holds down the fort.
3:29
Here's a question that I endorse the asking of: Explain to me the concept of microtones.
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Do we ever use them in Western music?
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It does show up in popular music, especially with instruments like the guitar, you can bend notes on the guitar, and trumpets, clarinets, and flutes and things like this where you, you have control over where you put your finger, where you place the note.
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An easy way to explain microtones is through a game that I often play just for fun.
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I like playing games for fun.
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You take two notes, G and E.
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How many notes can you fit between these two notes?
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On the piano there are two notes between, right?
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What happens if we try and squeeze in more notes?
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Right, you go forever.
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These are all microtones.
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These are notes that you can't find in the piano.
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Here's a question from Piss Kink, wow, what a username bro.
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Why do people even play bass?
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You can't even hear that!
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Laugh my ass off, that's crazy to me.
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Okay, well let's, let's get, let's get this actually, a bass here handy.
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Bass play is extremely important in music.
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As a bass player, you can be the drummer, you can play melodies, and you can also play chords.
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So the bass is a beautiful and very important instrument in music and I'm a huge fan of the bass.
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From @HexaPortal: Why do minor chords sound sad?
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I would probably say that I think the reason why minor chords potentially sound sad is that a minor chord is actually an exact reflection of the relationships of a major chord.
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So a major chord sounds like this.
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This is E major, one of my good friends.
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And that is E minor, another one of my good friends.
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Major chords exist in physics, they exist in nature.
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For example, there's a harmonic series in your mouth if you go, what you actually may hear is really, really notes here in my mouth.
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Every note has these overtones.
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If you yell in a chapel or a cathedral, I'd recommend yelling in cathedrals in general, it's just actually quite a fun thing to do.
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But if you go in a massive room, you will hear all those overtones shining back at you and you hear a major chord, which is crazy.
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A minor chord, which you could say is derived from the undertone series as opposed to the overtone series, it doesn't actually really exist in nature in that exact state.
5:56
In a nutshell, I would say minor chords don't always sound sad, but perhaps one of the reasons why they can inherently feel a little heavier than major chords is that they are the exact opposite in physics to what a major chord is.
6:03
It's actually not a question, it's a statement.
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I think we're entering a post-riff world.
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All the riffs have been used up and there are no more riffs left to be written.
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All new riffs are either bad or a copy of another riff.
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I disagree personally.
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Yeah, you think you can make up riffs?
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I think there are new riffs, like let's make up one right now, right?
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I've definitely heard, I've heard that before, and I've heard like, or something like that before.
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Perhaps no one has collided, I mean, let me know in the comments if you, this riff is taken and I won't write a song with it, but it's my ability as a riff maker to combine things that I like that maybe aren't normally put together.
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That's what's cool, that's what's interesting, and that's what's worth doing.
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So don't be afraid to take something you like, like a riff or a chord or whatever, and make it your own in an interesting way.
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From @RodGoels: What makes a baseline funky?
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That's capital letters there.
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What makes a baseline funky is also a little bit subjective, but stable time, right?
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So just having something that's stable that you can, you can move your body to, repetition, sit on this all day, and then making variations on that.
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It's not just the notes that you play or when you play the notes, it's actually the duration of the notes, like how long the notes are.
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If I play all those notes long, that is maybe less funky in my opinion.
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So it's actually a mixture.
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See, some of those notes are longer, and the control you have over the length of your notes, you can go a huge distance.
6:55
Here is another bass-related question from @Comfortable8467: Do bassists always tune the octave down from the guitar?
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The answer is fundamentally yes, yes.
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Actually the bass is essentially tuned an octave down from an ordinary guitar, not this five-string tailor, but this, this is a six-string tailor that I have just stowed down here.
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E A D G B and E.
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These four notes here are the same as these on this bass guitar here.
8:24
Okay, this is a drum question, so I'm going to answer it here at this drum kit.
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What are your favorite tricks to keep your drum tracks interesting and/or evolving?
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Well, I think about this all the time.
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If you take an ordinary beat, that's one of the most legendary beats of all time, you can make that interesting without adding any notes or even changing any notes.
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All I'm going to do is I'm going to nudge certain things forward and certain things backward.
8:47
Say for example, I move the snare drum backwards just a fraction, this is what that sounds like.
8:59
And already I'm kind of like, if I move the high-hat forwards, right?
9:08
So it's kind of sluggish, fully all over itself.
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One of the absolute pioneers of this was of course Jay Dilla, the legendary hip-hop producer from around 2000.
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He was just absolutely masterful at creating these kind of recipes, sonic recipes for grooves that had gravity in them, grooves that had momentum in them.
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So certain parts of the groove pulling back, certain parts of pulling forwards, all that stuff makes your drum tracks far more interesting without having to add a bunch of crazy fills.
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This is from a Quora user: What is four on the floor?
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There are a few different elements here before me at the drums.
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There's cymbals, there are toms, there's a snare drum, but most importantly for four on the floor is a kick drum.
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And four on the floor, every beat of a 4/4 bar is filled or anchored by a kick, so something like this.
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As long as those four beats are going, you're fine, you can call it four on the floor.
10:25
Here's another question from Wallo Squeegee: How the hell do you count all time signatures in music?
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In music, we have, we have these things called time signatures.
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Within every measure or every bar, you can divide that amount of space into a variety of different numbers.
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So a lot of music is in four beats on a bar.
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1, 2, 3, 4, 1, 2.
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So if I go 1, 2, 3, 4, 1, 2, 3, 4, that's a groove in four.
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If I were to go 1, 2, 3, 4, 5, 6, 7, 1, 2, 3, 4, 5, 6, right?
10:54
1, 2, 3, 4, 5.
10:44
That is cool, that's a bar in 7, 7/4.
10:52
You can basically divide time into any number of beats or subdivisions as you so please.
10:56
This is a fun question from JPB and the question is, hey music nerds, I'm trying to understand the concept of polyrhythm.
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Aren't we all?
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I've long been fascinated with the idea of polyrhythm.
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Polyrhythm just means many rhythms at once.
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If I play three in my left hand and five in my right hand, that sounds like this.
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See, so 1, 2, 3, 4, 5, 1, 2, 3, 1.
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When I was a teenager, I set myself a challenge: What if I could do five rhythms at the same time on the fingers of one hand?
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So like a five-way polyrhythm, here goes.
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So 1, 2, 3, 4, 5, 6, 1, 2, 3, 4, 5, 1, 2, 3, 4, 1, 2, 3, 1, 2, 1.
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They happen at the same time.
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It's funky, it's fun, it's cool.
11:49
This question comes from Charles Welter: How does a musical piece played with unweighted keys compare to it played with weighted keys?
11:58
This is a Nord keyboard and this keyboard has what we call weighted keys, in the sense that when I play a note, the key is a little heavy.
12:04
It's actually, it's mimicking a real piano and inside of a piano are hammers and a hammer will hit three strings per note.
12:11
Many of us who play keyboard instruments, we kind of seek that feeling.
12:14
There's just, there's just more degrees of nuance that you can find.
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It's nice to be able to lean into the dimension of the sound.
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Now in this drawer here, what have we here?
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We have this lovely MiniLab 3 by Arturia.
12:29
This keyboard is unweighted.
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We say unweighted in the sense that the keys are light as a feather.
12:29
This can be really fun especially if you're playing like fast stuff, you can whiz around, like your fingers don't get so tired.
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If I whiz around on here, it just takes a bit more muscle power.
12:41
This is easier to, to fly around on, but it's harder to, to maybe find some of the depth to, of maintain some of the nuance and performance with something like this.
12:48
Here's a question: What is the difference between the white and the black keys on a piano?
12:51
The white keys on the piano are all the notes of the C major scale.
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The black notes are all the notes which are not in the key of C major.
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So there are seven notes in C major and there are five notes that are not in C major, they're in a completely different part of the musical key.
12:59
Question here from VegetableOil_: Why do some chords sound better together in chord progressions than others?
12:59
It's a great question.
12:59
If I pick up this five-string guitar here, this is in the key of D.
13:16
So certain chords when you're in D, they sound nice or you can say they sound consonant in D because they have common notes.
13:25
So for example, the chord of G major, right, does not sound too foreign in D major because both chords contain a D.
13:25
In fact, this G major I played also contained an A 'cause it had a little bit of color in it.
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It's about the notes that carry over between chords.
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Okay, that's everything we have time for today.
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Thanks for such amazing questions.
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Hope you learned something, I sure did.
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And I hope to see you out there very soon.
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Okay, cheerio, bye!