Title: Emotional music and Emotional songs mix: 3 Hours of emotional music instrumental playlist video
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hey, welcome to 12tone! today we're gonna answer some audience questions, and joining
me to read them is my brother Jareth.
hey folks!
we've got a lot to get through, so let's dive right in.
what's our first question?
Inés asked "What made you decide to study music over other potential subjects?"
honestly? the terrible design of the American public education system.
I often joke that I'm a mathematician who accidentally went to music college, but the
truth is that my public school experience scared me away from academia by giving me
a completely false impression of what being a mathematician or a scientist actually meant.
instead I decided to become a rock star 'cause that seemed more fun, and by the time I realized
my mistake I was already well into a music degree and I'd fallen in love with the beautiful
structures of music theory so I decided to stay and learn more about that.
awesome.
Mark Sundaram asked "Who's your favorite Beatle?"
hmm…
I'm tempted to say Ringo just because he's so underrated, but I think it has to be Paul.
George did a lot of really cool experiments with different sounds and styles, and John
had a really interesting musical vocabulary even if he wasn't a very good person, but
Paul's work, with things like Hey Jude, Blackbird, Get Back, and Maybe I'm Amazed, is the stuff
that I find the most compelling to listen to.
all four of them were great artists, but if you're gonna make me pick one it's McCartney
for sure.
next!
Patrick Foote asked "what instrument do you actually play?"
my degree is in vocal performance, so I'm primarily a singer, but you can't really get
a degree like that without learning some piano, so I'm a decent keyboardist too.
these days, though, I'm mainly a theorist and a composer, so most of the instruments
I play are inside my head.
next question!
Jonathan Moore asked "What are the best and worst things becoming a creator has brought
into your life?"
the best thing is definitely the community of youtube educators.
everyone's so passionate, supportive, and friendly.
I've received great advice and encouragement from some of my idols, and I've also gotten
to know a lot of smaller creators who're doing amazing things and will definitely be making
it huge some time soon.
as for the worst thing… that's trickier.
the obvious answer is trolls, but they really haven't been that bad. as a white man who
passes for straight, I don't get a lot of the more vicious harassment that many of my
peers get.
I guess the worst thing for me is just the stress: as awesome as it is to have such a
large audience, it's also kind of terrifying knowing that, if I have some passing thought
that I feel like expressing, there's 60 thousand people waiting to hear what I have to say.
that's not really something you can prepare yourself for, and while I wouldn't trade it
for the world, it can definitely get overwhelming at times.
cool.
Katherine asked "What is your opinion on 4'33?"
that's a good question.
like many academic musicians, I have a complicated relationship with 4'33". for those of you
who don't know, 4'33" is a John Cage piece that's often described as four minutes and
thirty three seconds of silence, but is better explained as four minutes and thirty three
seconds of the ambient sound of the area elevated to the status of music by the presence of
a performer.
either way, though, the musicians involved aren't playing anything, so the big question
about it is "is it music?"
honestly, though, I think that question is ultimately pointless.
I think the answer is yes, because music is subjective and experience-driven, but the
arguments against it tend to just take the form of "here's a definition I made explicitly
to exclude 4'33"" and that's just not that interesting to me.
the bigger problem I have with it is that it winds up obscuring other, more nuanced
approaches to the same question, like Steve Reich's Pendulum Music, which is a series
of microphones swinging over speakers and creating feedback, or another John Cage piece,
Imaginary Landscape no.
4, which is written to be played on 12 radios, each tuned to different stations and volumes.
but 4'33" is just so simple and elegant in its defiance of convention that it winds up
distracting from other, potentially more interesting pieces.
I'm glad it exists because it asks some really important questions that we're still struggling
to answer, I just wish it wouldn't be quite so greedy with the spotlight.
next!
jason black asked "What's going on in your brain when you improvise?"
not a lot, really.
for context, I don't tend to solo over chord changes very often.
most of my improvising is completely freeform, just me and a piano.
it's usually counterpoint stuff, with each hand playing a melody, plus the occasional
chord for effect, and it's often pretty atonal, which means I'm not really sticking to any
particular key or sound for very long.
I'm aware of the scales I'm drifting in and out of, and I know how the chords I play want
to behave, but for me it's more about exploration than composition, so mostly I'm not looking
ahead at what's coming, I'm looking back at what I already did.
I'm not really worried about making mistakes or playing bad notes.
I'm thinking about what I've played and why it sounded the way it did, and while I'm doing
that my hands are just moving to wherever they want to go next.
it's a pretty unconscious process.
cool.
Jeffry Steck asked "What's your favorite compliment of instruments to arrange with and why?"
anything with a good low end.
I especially enjoy contrabasses and bassoons, but electric bass, tuba, and even just the
left side of a piano are all really fun to work with.
for higher-end instruments I love the sound of flutes and bells.
they have this pure, almost innocent sound to them, and they often wind up in things
I write even if they probably don't belong there.
next question!
Brilliant Botany asked "If you had infinite resources and time, what is a video you'd
love to make?"
Ooh, I actually have an idea I've been working on for a while here.
basically, I'd love to do a song-arranging competition show, kinda like Iron Chef or
Knife Fight, if you know cooking shows.
I'd bring in two great arrangers and assign them a song to work with and a special instrument
they'd have to use.
so, like, Scarborough Fair with a steel drum, or Lullabye of Birdland with a string quartet.
they'd also each get to work with a house band made up two guitars, bass, drums, a keyboardist,
and a singer.
they'd go off to separate rooms for an hour to work with their band, then they'd come
back and present to a panel of judges including me and, ideally, some other youtube music
people like Adam Neely and Andrew Huang.
I think it'd be really fun to do and it'd make the world of music a lot more accessible
to audiences in the same way cooking shows have done for food, but it could easily cost
hundreds of thousands of dollars to do it right, and I don't quite have those resources
yet.
if you do, though, and you want to make this happen, my email is 12tonevideos@gmail.com.
get in touch.
next!
Kevin Iga asked "You seem to put math references in your doodles from time to time.
Do you have a math background?
Do you think there is a connection between math and music?"
well, I'd be happy to argue that music theory is math, so in that sense I do have a math
background, but in a more accurate sense, I do not.
I'm just an enthusiastic amateur.
I do think there's a connection, though.
there's obvious things like frequency ratios, counting half steps, and other places that
numbers come up in music, but numbers are only tangentially what math is about anyway.
I think mathematics is, at its heart, a way of thinking about ideas, and it's dominated
by the concept of abstraction.
it wants to take specific answers to specific problems and figure out how to generalize
them as much as possible to reveal deeper truths about the subject, and that's exactly
what music theory does too.
when I say I'm doing math to sounds, I don't mean it figuratively.
anyway, that seems like a good place to stop.
thanks to everyone for the questions, and thanks to you for watching! if you want early
warning for the next Q&A, our Patreon patrons get notified first, and we also collected
questions on twitter, facebook, and through our mailing list too, so follow us on any
of those platforms, check out our store, and keep on rockin'!
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