“Correct” Music Theory Analysis…. | Q+A #54

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Also, what is “tinnitus relative pitch,” and should you be thinking of the names of notes are you’re playing?

Many thanks to AliceCDE, PatientMental, TheBradleyClarke, Disney Jazzcore, Alex Hristache, Leonardo NCS, Raymond Visconti and DonkeyBong for their insightful questions!

0:13 Can you talk about the chords in Satie’s 1st Gymnopédie
4:51 Your theory about musical taste is stupid!
5:40 Tinnitus Relative Pitch
7:07 What are GB gigs?
7:50 Who edits your videos?
8:32 Do you think about the names of notes as you play?
9:37 How do you learn songs so fast?
10:32 You’ll be listening to Skrillex in the nursing home.


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latinfenderale says:

3:16 VSAUCE music starts playing

Tiago V. says:

Thoughts on Rush and Geddy Lee's playing? 🙂

Joe Bates says:

Love how that dude has a Slaughter to Prevail picture as his icon hahaha. Fitting.

Dux Nihilo says:

I'm finally ok with your new hair. Please, don't change it again.

Oscar Geronimo says:

Any advise for melodic instrument players who come from backgrounds of just reading music (classical in my case) and find it odd to memorize harmonic progressions to improvise to?
It's like finding out there is another dimension to the music content you learn, or another layer. Specially a melodic instrument, that we don't deal that much with the vertical aspect.
I'm improvising a lot more than when I stared this journey 2 years ago, but I was wondering if you had though about the "classical to improvising" phenomenon or had anything to say about naturalizing improvisation once you have facility in your instrument.
(The bebop concept of spaces has been useful for me).

Saur says:

But who looks fondly at backstreet boys? o_O

Παναγιώτης Γκίκας says:

Well, 5 years at the Paris Conservatory will certainly teach you some diatonic harmony.

Elias Altman says:

Can you do an in depth analysis of a Dream Theater song? Literally any will do

NJP695 says:

Second comment because now I have a different question:

I was listening to music the other day with my Akai monitor headphones at a relatively loud volume, and when I switched the song to a cabinet speaker at low volume, I perceived a slight dip in pitch that I cannot explain; obviously a recording does not “de-tune” itself depending on the volume/how close your ear is to the speaker, and of course our human ears have fallacies of their own, but I was curious as to whether or not you’ve experienced something similar, or if you know of an explanation for this. Thanks in advance!

Koen v. Meijel says:

Fearless was a legendary album

Jimmy Swanson says:


Hi Adam, I'm trying to tackle Jaco's Portrait of Tracy for my bass lessons / end of semester jury and I'm quickly discovering he had an insane reach. He plays some false harmonics that my fingers just can't grab. The one I am mostly concerned about is the last chord of the piece which is a bar over the 9th fret of the A, D, and G stings with another bar over the 13th fret to make the harmonics. Any tips on playing it or maybe an alternative? Do I just have to accept that I will always flub the last note?

Mihnea Zoican says:

Hey Adam!
Do you find it easier to hear intervals and modes in certain keys? For example I can instantly recognize E lydian but C lydian sounds bland to me, I think it's because I've been playing in Em for most of my life. Same thing with Cm, to my ears it's "sadder" than Em.
That's nowhere near the whole idea but I don't want this to get too long. Thanks and keep it up!

Nicolas Giliberti says:

I started to try "transcribing" (learning by ear, Im not into writting yet) songs and I'd like to know how you make it to get the patterns, motifs or licks fast and clear? It feels like I got to listan a small part 68 times trying to copy it without tilting.
Is all about having "vocabulary"? Is a sight reading technique? Is a relative pitch training? Maybe a mix of all? Any advice will be welcome :T

Ivan Maras Miladinov says:

4:50 I kinda like how "The lick" blended after the last chord played. Now… Was is it on purpose?

ahnaf ibrahim says:

Hey Adam, brilliant stuff. Here's a question for your next QnA :
I have just started playing in a jazz banda and over the last two months, we have played 3 gigs and every time, there's always been one person who has requested to sing (or try to sing) some big tune like the way you look tonight and normally does a bad job at it. They tend to be pitchy and are not able to keep time. This normally gets the crowd in a bad.mood and we end up having to spend the rest of th e gig trying to get back the atmosphere we created. Any tips on how to avoid this? Or any tips on how we can quickly bring back the easy, atmoshpere ?
Thanks a bunch!

Okuhle Minyi says:

Hey Adam, really loving the content.

Thoughts on the megapiece that is With the Love in my Heart by Jacob Collier and his combination of so many different genres of music?

Love from Cape Town

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