Hello, everyone! Welcome to another episode of TwoSet Violin. Now, you may see four talented musicians here you have seen before on our channel. Brett: Today's video is about debating which instrument is better. Now, we have three questions so it'll be three rounds. And it's really up to you guys watching to decide which instrument do you prefer and who's right, I guess. We're kind of cheating, 'cause we're like... - two people representing violin gang.
- Yeah.
- Yeah, what's that about? I'll just take care of filming. Brett, you can do it alone. I'm going to get some bubble tea. I'll be back. - Eddy: No.
- I feel ganged up against. So, I think the first question we have is... I don't know. I feel like Phoebe should demonstrate. - Brett: Yeah.
- I mean... Can I just say one of the most famous pieces or motifs of all time - Eddy: Yeah.
- is actually written for the bass. And it only needs two notes. Ah. Any beginner can play it. That's true. - That's... Yeah, okay.
- It's pretty epic, but is that copyright? Oh, yeah. You might have to cut that out. That's the only point I actually had for today, so. - That is a pretty epic motif.
- Yeah. I don't know. Violin, we have some pretty good stuff. We get all the melodies in orchestra, which is pretty sick. Yeah. We don't have to worry about the left hand. Oh, actually, we do. I mean, we don't have to worry about the bass line. You don't have to worry about the left hand. Like a piano, right? - Yeah, I was thinking like a piano.
- Ooh. And I was like, "Hang on a second..." "There's a lot to deal with." No, but we get all the melodies. - Yeah.
- Like, a lot of nice tunes. Yeah. I mean, I don't know. Do double basses play violin transcriptions? Yeah. - Eddy: Yeah, see?
- Yeah. I mean, that's saying a lot, right? But can I just say Capuzzi is a double bass concerto. - Eddy: Capuzzi?
- Probably no one knows. Who's Capuzzi? Um, but I heard a tuba player practicing it and apparently, they steal our repertoires, so. We're not that bad. - You're not the lowest in the pecking chain.
- You're not the lowest. Phoebe: We're like... Eddy: Tuba's still below you. It can go lower. Yeah, yeah. - Okay, okay.
- Yeah. I will say the best version of the Tchaikovsky violin concerto I've ever heard was on a soprano saxophone. No! - How?
- And it gets better. The orchestral part was played by an all saxophone ensemble. - This is a joke, right?
- So, it was... It is a hundred percent not a joke. How do you play the third movement? Um, the altissimo register. That was actually one of the good things - I was going to talk about for the saxophone.
- Holy moly. But, yeah, you can unlock a whole, like, another register on the saxophone, and play, like, really stupidly high. But what about, like, the chords? Like... Whoa, okay, I mean, that's- No, but if anything that's just demonstrating everyone's trying to - take violin repertoire, so...
- Yeah. Or make it better. - Ooh!
- Wow, okay. If we're going to talk about transcriptions, the saxophone is like the king of stealing repertoire. Really? When we were invented, we, like, missed all these great composers. So, there are saxophone players who just... study whatever they want. The Bach cello suites on tenor sax. The Paganini Caprices on alto sax. - Yeah.
- Like... Basically, it's just saxophone players have a little bit of, like, - "Anything you can do, I can do better," vibes.
- Do you play Liszt and Chopin? I mean, I haven't. Okay. - But do they? Oh.
- I think people have.
- Okay. I feel like piano has probably, like, the biggest repertoire of its own. Plus, we kind of get everyone else's repertoire as well. - That is true.
- Fair enough.
- Yeah. - You do steal...
- Not just through transcriptions, but even like all of the amazing orchestral music, there's always transcriptions for, like, solo piano or piano duo, or... Y'know, there's versions of everything for piano. - That's true.
- That's legit. Feel like I don't have to fight very hard for this. - Yeah. Yeah.
- Yeah, that's why he's been sitting quietly in the corner. Yeah. I'm in a very similar position like Emma. We don't have too much that was written specifically for harp, especially the early stuff. Mozart, the only thing that he basically wrote for harp, is the Mozart Harp and Flute Concerto, so it's not even a solo concerto. It is nice, though. - It is. Yes. Yes, possibly.
- Also, isn't it the Flute and Harp Concerto? Ooh. Even Debussy's time, the most famous piece that I guess he kind of like, wrote for solo harp and string orchestra, Debussy's Dances. That was actually composed for the chromatic harp, which is a harp that looks like this, so it has intertwined strings, - it doesn't have...
- Brett: Are you serious? - Yeah, it doesn't have pedals.
- Eddy: I didn't know that. So, it's basically, you kind of play it, you know, kind of like a piano. I think that's how it works, I've never played one. One side is black keys and one side is the white keys. - Or the equivalent.
- That's messed up. - That's why it's kind of hard to play on a modern harp.
- Yeah. I always thought the harp was like the instrument you see when you, like, pass away. Like, you're transcending, and then there's a harp like... "Welcome!" Yeah! "Welcome to the gates of Heaven." Brett: "Yeah, welcome." Brett: Yeah, like that. Ooh, so pretty. Okay, you saying that, though, makes me feel a little better about the saxophone. - Tijana: Yeah.
- 'Cause we do have a concerto by Debussy. - You do?
- What?
- So... Yeah! Wow. It's called Rapsodie, it's not technically concerto, but it's, like, you know, solo saxophone and an ochestra. - Yeah, it's really cool.
- Wow. It was actually a commissioned work, by an amazing American female saxophone player. Ooh. And it's just the coolest addition to the repertoire but it really doesn't get played. Well, I have one very suspicious story to add to that. Ooh. Apparently, there was actually a Haydn concerto for double bass. Um, and the library where it was, was burnt down before anyone can record it. Oh no. - Whoa...
- That is so sad. - That is so sad.
- Maybe he changed his mind and, like, committed some arson. - Conspiracy.
- So...
- Oh, my god. - "No one must hear about this concerto."
- Yeah, I know. - "Burn it."
- But I'm sure... Yeah, that could have been ours. That was the one. But like, how many concertos are there, actually? - On double bass.
- Um... I mean, of course, there's like a whole lot of modern ones. - Eddy: Yeah.
- But... The standard, four or five standard concertos. I think that's still, like, more than viola, though, right? Viola's just like... Stamitz, Bartók... Walton? Walton. Hoffmeister. - Oh, Hoffmeister.
- Same, yeah.
- Ooh, four. But that would still mean every instrument here - has more concertos than the viola, right?
- Yeah. - Somewhere near the bottom of the food chain.
- So we're all okay. - Yeah, yeah.
- Yeah. Okay, second question. - I feel like we should start on this end.
- Yeah, that's... - 'Cause I see a lot of strings.
- I feel like it's, yeah, between the piano and the harp. I'm going to say the piano is not. I feel like, particularly, beginner piano is like, super... Definitely the easiest to play. Sure, there's a big journey, but I really... I don't think piano, by any stretch of the imagination, is the hardest instrument. If they can develop an app with, like, colors and lights... You know that app they advertise all the time, where it's like... "Here's the key that lights up. Press it." It's just like a game. Like, they've gamified playing the piano. Like Guitar Hero, but for piano. Essentially, yes. Yes. There are instruments that are easy to learn how to play, but hard to perfect. Yes. And then instruments that are really hard to actually even, like, learn how to play and get a tone or whatever. Mm. But then, you know, it's a little bit easier to, like, be an expert or master, basically. If you're talking about mastering, though, like, every instrument's probably equally hard. Like, at a really advanced, like high level, they all have their unique difficulties. Though, with the fact that we don't have to worry about intonation like, if it's out of tune, it's not our problem. - We call someone in to tune the piano.
- Eddy: That's true. It's such a load off compared to, like, most other instruments. - We have to tune to the piano.
- That's true! When the piano is out of tune, we have to adapt. Important point is that you can see all the notes. Whereas, like, I look at a string instrument and I'm like, "Man, where, like, where is the range?" - It's just like, "There's four strings."
- B flat's around here. Is it? Actually, play it. - Now, go.
- Can you play it? I can't play. Close. It's a little bit sharp. A little bit sharp. But close. Well, I tried to teach you guys. - Yeah.
- And, like, the harp seems easy, you think, "Oh, yeah, you just pluck strings." But to actually do it properly, to get a nice tone, there's a lot of prep that actually goes into it, like... - Yeah.
- Yeah. - Yeah.
- Brett: Whoa. - That's all I have to say.
- Such a nice tone. So nice. No, but it actually is... So, you did the right thing. Most people go in with the nails and start like from... Like that, or... You know? Or they'll play up or down - or something.
- Still sounds good. Well, of course, I mean, it sounds wonderful either way, - but to do it correctly...
- Yeah, yeah. Plus, you know, you have the pedals, it's not just hand-to-eye coordination, it's also feet. And then if you think about how we actually play, if you have music, and the conductor, and strings, you have like three different things to watch at once. - Okay.
- And you actually need to move your face to look at all of it. It's two hands coordination. We don't have to coordinate our pinkies, though, so. I will say, like, we tried to learn the harp the other day for a video, it felt very not intuitive. Like, piano kind of feels a lot more intuitive, like, you see it. They just, bam. But harp is kind of, like... - Yeah, it's just... I think also the posture is...
- I don't know, it's really weird. Made me feel like I couldn't control my hands. - Eddy: Yeah.
- Brett: My pinky kept going up. - She was like, "Down!"
- I've never felt so uncoordinated. - Yeah. "Down, and elbow down."
- Put it that way. Yeah, I feel like you guys should have the say. - You've learned all the instruments, haven't you?
- Yeah...
- Yeah. What did you think about...? We haven't learned the sax yet. Okay. - Mm.
- Yeah. - Next video.
- Yeah! If I'm going to get beaten in this round by anyone, it would definitely be the harp because it's like... If you asked a layperson to play, like, a B flat, you can pretty much figure it out fairly easily on any instrument except for the harp, I think. - Yeah, you'd never get it unless you know, like...
- Yeah. - Yeah, you...
- You'd never figure it out, how to actually... - Eddy: Really?
- Emma: Here she goes. No. Okay. No, because you'd actually... You'd actually need to move a pedal to get a B flat, so, yeah. I was really hoping to have a smartass moment. Ah, that actually would have been quite good. Yeah. But, like, saxophone I feel like is easy for the first half an hour. And then after half an hour, it gets really hard. Why? So, if I think of, like, my first lessons with a lot of my beginners, I can get someone from "never having played a saxophone," to an octave of notes and a couple of, you know... "Mary Had A Little Lamb," or "Hot Cross Buns," or whatever folk song. Yeah. Fairly easily. Beyond that, you've got all these pinkies everywhere, and it's a lifelong journey to play this thing in tune. It's one of those things where, like, even now as a professional, I'm constantly doing practice, making sure I'm in tune across the range. And then extending my range, as well, and going up into the altissimo register, so. I think that saxophone gets this rep that it's really easy, but actually, it's not. - Ah.
- Whereas... The double bass, actually, it's almost impossible not to play in tune. - Oh, really?
- I thought... Really? - What?
- Have you ever heard a bass player that doesn't play in tune? - No...
- Eddy: Yeah, I was going to say, like, I feel like double bass would be so hard to play in tune. Yeah. - Just by the nature of its size.
- I mean, I can't really hear it a lot of time when it's rumbling down underneath the orchestra. Oh, my god. - Oh, yeah, you have a nightmare.
- Yeah, you're done.
- You guys have to spend an hour tuning, though. Yeah, it's like ten minutes at most. - Yeah. Ten minutes of tuning.
- Ten minutes of tuning. So, every time you practice, you gotta tune ten minutes. Yes. - Tijana: Yes.
- That's so annoying. Sometimes I only practice for ten minutes. I have to say, I reckon, just for the... I've been joking around, but, y'know. - I have something to say too.
- Oh, it's getting serious now. Ooh, let's go. Double bass, like, at the beginning, it does sound pretty bad. With kids, you know, like, it can sound pretty... - It's pretty hard to get a sound a lot of time, like...
- Eddy: Yeah. 'Cause it's quite big and takes a lot to get the string moving. - Eddy: Yeah.
- So, if you're a little kid, like, it is harder. But I still don't think it sounds as bad as a beginner violin. Alex: That's a particular kind of torture. - It's like, how much do you love your kid?
- I mean, even now.
- Yeah, my parents were like, "No violin for you. What else do you want?" I'm not even joking. - You can...
- Like the typical like... Ooh. Would you say violin, out of all of us, sounds the worst as a beginner? - Yes.
- Yep. Does that mean ours is the hardest then? No, it just... It's just a horrible instrument, maybe. Emma: Yeah, it's the instrument. The kids can't help it! Feel like double bass would be hardest for projection though. - Yeah, that's true.
- (Brett) Oh, yeah, that's... There are a lot of amazing bass players that can play really well, - but then trying to project on top of that is another battle.
- (Eddy) Yeah. And the intonation thing, - Then how do you play like, with an orchestra?
- having... I remember hearing Bottesini or something, You have to like...really listen for the bass. Oh I mean like...well you just really have to play, - right on the bridge,
- (Brett) Uh-huh. and, you know, kind of play through the scratchy sounds, if you want to be heard, or like, I'm doing a concerto next year, but it's being commissioned, - so woohoo, another one for us. Um...
- Oh, nice! - But...
- Is that 5? - That's number 6...no...
- (Eddy) That's 6! - Um...
- One at a time. But I'm gonna just get some... ...like some people think it's cheating, but it's an amplification. 'Cause I just think...I mean, you want to hear the soloist, 'cause a lot of the time when double bass concertos don't have a full symphonic sound behind them, like they'll have a little string orchestra with you know, - like 5 violins, because you want to be heard.
- (Brett) Yeah. But if we bring amplification into it, then we can actually have proper repertoire. - That's true.
- That's fair. - It's like classical guitar,
- Yeah. they often have amps, right? - Yeah, and I'm personally for that.
- And this... Oh really? When do you hear the harp in an orchestra? When it's a solo. - That's true...
- Or when it like accompanying someone, - like you know, violin solo, and then...that's it.
- (Brett) That's true. - (Tijana) I mean, obviously you can hear the harp, it is...
- You know what I just realized? It's the accompanist and the...nah just kidding. (Brett) Ohhhhhhh!!! - Wait, I'm on the soloist side...right?
- (Eddy) Nah, like the end of the... Alright, we had more prompts, so we decided for the last round, we're actually just gonna go open ended, and everyone can say why their instrument is the best. Violin's the best. Okay, look, even like in terms of portability, you can't really carry a piano around. You always have to play other people's pianos, and you gotta hope it's in tune. - Isn't that a kind of good thing, though?
- Yeah, you're...you're arguing for me, I think, yeah. - Oh, but then it means...
- It's more personal... ...you have to like, look for pianos, when you go traveling. Isn't that really annoying? - Oh yeah, practicing!
- Mmm... (Eddy) Like if you're touring, - and you gotta like book a little room and stuff...
- Yeah, that's right...! - Gotta find some Airbnb with a piano...
- Versus where you can just like, what... ...practice the violin in the street, you guys don't need to book rooms or... ...or seek shelter inside to do it. I think I have done that, just like, I have like an audition coming up or some s***, there was no practice rooms. I was just in South Bank, just practicing... ...yeah, I've done that. Legit. - (Tijana) Uh...
- Yeah, you can busk at the same time. I guess. - You're paid while practicing.
- Yeah. And it doesn't get you know, destroyed in the luggage thing, like double basses do. Oh. (Eddy) I'm sorry. - She looks so...!
- Yeah. - That's actually really mean!
- (Brett) That's... - Didn't that happen to you once?
- Yeah. - Ohhhh!!!!
- I didn't know that! Oh s***! I didn't know that! It was actually in...always in the States, sorry American people. - But for some reason, every time...
- Wait, which airline? - Which airline?
- Yeah...! They like, threw the bass in the hard case, neck first down the luggage chute. And it's... - Oh my god.
- (Phoebe) And it was like a solid case, but the neck completely snapped off. And um... ...like it just completely... It's amazing what they did, it was this one. - Oh wow.
- So it's a completely new neck and everything. - Threw it down?!
- (Tijana) Wait, what? Yeah, I saw it happen. - Ohh...!
- (Tijana) Oh my god!
- (Phoebe) And I...I was like, "Aghhhh!" - That would've been...
- (Brett) Ohh...!
- And I had an audition the next day. - Ohhhh!
- And I was just like, "Okay, goodbye." That's it. - So thanks for bringing up that traumatic memory.
- (Tijana) Painful memory...! Now I feel bad. - I had no idea that actually happened to you.
- (Phoebe) Yeah. - It happens to cellos too, right?
- Yeah. I feel like cellos are more...common. - But they can take it on...
- I heard of like, 2 or 3 or something. - Yeah, they can buy a seat.
- That's true, they can buy a seat for it. Oh, you can't buy a seat for a... No, but probably the best thing about being a bass player, the one experience that made me think it was the best instrument, - (Eddy) Mm-hmm.
- was when we're going on tour, to Canary Islands, right? Already starting good. Um... And...the luggage allowance was 30 kilos, for Economy. But it was 35 or something, for Business. So the orchestra just booked me First Class, - Oh.
- so they can check in the bass. - I was like, "Okay."
- (Eddy) Ohh! Perks! So everyone's back in Economy. How heavy's the bass? - Ooh, that was the orchestra's bass.
- (Eddy) Ah, okay. But mine in a hard case is under 32, because I travel a lot with it. (Phoebe) It's like 30 kilos. - Wait, what?
- 30 kilos?! - Bass in the hard case, yeah. It's mostly the case,
- But it's mostly the case right?
- (Brett) Oh, okay. (Phoebe) it's like 15. - But that's still messed up, dude.
- (Phoebe) Yeah. - (Tijana) Yeah, like I mean...
- I can't even carry... A harp on its own is like 34 or 5, 6, 7 kilos, depending on which one you have. But like the hard case is like another like, I don't know, a hundred kilos or something. Damn. - Yeah.
- Okay, but violin's still the best, so... - Yeah.
- (Brett and Eddy) Yeah. - In terms of transport!
- Why did I agree to that?!
- Yeah! - She's just like, "Yeah..."
- Yeah...!
- In terms of transport, yes. I'm not sure you guys made any point, just then, - about how the violin is the best.
- (Brett) Yeah...! - Alright, here we go, here we go.
- He's like, - "It doesn't get smashed in the luggage." Okay.
- Yeah. I feel like you're just tricking us into saying - bad things about our own instruments,
- Yeah...!
- (Alex) Yeah! - and that's how you'll win.
- Yeah, yep, yeah.
- Yeah. Maybe not all piano players would agree with me, but I feel like the fact that every time we play uh, on a different instrument, it's kind of like we have to learn how to make the instrument really sing, but, I kind of like that sense of adventure as well, even if it's a not-great piano, like provided that it can function well enough to do all the things it needs to do, like it's quite enjoyable for me to try and find ways to get different sounds and colors out of different instruments, and...also like, the fact that if there's an issue with the instrument or if it's out of tune, it's literally not our fault. It's not our problem either. You can never leave it at a bar, you can never leave it on a bus. Oh, that's true. - Oh s***. I...I've left my violin all over the place.
- Yeah, oh, s***. Oh, he's left it on a train before. - This is just digging at each other's trauma at this point.
- Yeah, I know!
- Yeah, it's like, oh no! I left my violin on the train, and I realized as I was nearly at the airport, - and with a flight in one hour, that my violin was on the train.
- (Alex) Ooh... Did you get it back? I did, I was like...I made it on the flight with like one minute left. - Wow.
- Oh, that's messed up.
- Yeah. I feel like...the history of my instrument - just makes it by far the best, like...
- Doesn't exist, what? - It doesn't exist, it's an illusion. I'm not here.
- No history! Adolphe Sax...like this guy is crazy, like please laugh, if you ever want a good time, like, look up his life story, - 'cause like...
- Adolphe? - Adolphe Sax, yeah.
- Adolphe Sax. He literally almost died, like 5 times, before adulthood. He like, fell in a river and almost drowned, he fell asleep in a room where they were varnishing furniture and the fumes almost killed him... Was this God's way of saying, "The saxophone should't be born." - Wait for it.
- Sorry...! He almost died, he makes it to adulthood, becomes an instrument maker, and then the rumor is he like went to some convention, and brought this prototype, which everyone believes to be the first saxophone, but he was this really divisive character that apparently would just annoy people and piss people off. And someone kicked it across the room and destroyed it. So it's like a thing, that like the first prototype of the saxophone was actually destroyed. And then he came back and he finally presented it. It's just this incredible story, to get to this instrument, and then where it's come from there. It's just so cool! - It had to fight to be born.
- It li... It literally got kicked, they're like, - "It should not exist!"
- Fight! It should not exist, it should not be here, - and it literally is called the Devil's Horn.
- It's a survivor! - That is a good story, I enjoyed that.
- (Brett) Yeah.
- It's...yeah! - It's this like, wild story,
- What? of this like, hybrid instrument of like, brass, and like you know, woodwind and a clarinet-like mouthpiece, and a reed! - It's just like, you know...
- Yeah, that is true. - It's like, the cat-dog of instruments.
- Is it technically brass or woodwind? - Woodwind.
- It's woodwind, 'cause of the sound production, but...
- Woodwind, yeah. - ...you know.
- It just, looks like... What I can say is, for anyone out there that actually knows me, I always preferred the harp to the bass. I got tricked into playing the bass, my life's dream was to be a harpist. Um... Look, it's fine, I'm okay with it now, like I've come to terms with it, this far in. - All these budding aspirational double bassists crushed,
- But... - watching this.
- They're like, "No!" I know, I'm gonna get it back bassists, but I have to... ...I have to be honest. - We got to choose a string instrument in grade 2 at school,
- (Eddy) Yeah. and I thought, "Great, the harp. That's the one." "It's so beautiful and elegant and..." Well, this one is not all golden, but you know, - the golden swirly...I was in love, the crown...
- The crown at the top, and...yes, yes. And I...I just went and I was like, "Yep, I'll take the harp." Apparently they didn't have one, which was a bit rude, and...and so, they said, "Well, the double bass is kind of similar, because it's also really big." That's such a lie. (Tijana) That's probably... - I'm just gonna say that's probably like the only similarity to it.
- "It's kind of similar!" And I was like, "Ah, cool, yeah, okay." That is some teacher who needed to fill out - the string ensemble.
- Yeah, yeah...! No, but the best thing is, there were two other guys in my class, that wanted to play but there could only be one, - so I had to win an arm wrestle in order to get the double bass.
- What?! We got up in front of the class, we're all like 8 years old, And I beat two guys, just one after another. Anyway... - ...it did grow on me.
- (Brett) Okay. I tried to get out of it. - So is there anything good about the bass?
- It... The thing I truly love about the bass, is the lower register. Like, I mean... It just, it's beautiful. Like and the best thing is playing barefoot, - and feeling the vibrations in your feet, on the floor.
- (Eddy) Ohh. Like, when you play... ...the whole bass just resonates, it's very...it's a very nice thing, and if you've had like a rough night, or not much sleep, in the next morning I can just imagine playing the violin would be rather grating on the ears, playing the bass is actually very soothing, - you know? Like the...
- I can imagine that, yeah. It's a very chill instrument in a lot of ways. I feel like I'm making up for the fact that I said I preferred the harp. Double bass is definitely the best. I agree with Phoebe, no. The unique thing about the harp, I mean, aside from like, its appearance and it's just the "Wow!" effect when people see it, when they actually hear it, it's very unique, it can create such a wide array of...moods, and... ...kind of like the piano, I guess, but it's...it just has...I feel like a slightly softer tone, and softer sound, and it's like... Unless you're playing something really, really, modern, - it's gonna sound good on harp no matter what you do.
- (Eddy) Yeah. Even if you're like, making mistakes and stuff, unless you're, you know, like... ...doing that, some modern... - Like, I mean, I like it, I like that kind of stuff,
- That's kinda cool! That's good. - but you know, that's not too pleasant on the ear.
- That's so good. You know? - Oh, I just feel relaxed already.
- Like...
- Yeah...!
- Yeah, same! Yeah, yeah, dude, it's got this weird effect! That's so... Feel like I'm in like a spa right now. Yeah...! It creates this atmosphere just through the sheer number of notes played, and um... It does actually have quite big dynamic range, - which I love.
- Yeah. - Um...
- Can it do vibrato? She just did it. - (Tijana) I mean...
- Wow. - I don't know, hold on.
- Shake the whole thing. You can! - Kind of.
- Oh, okay. The...the most beautiful thing about the harp and you know, why do we have instruments, is the actual sound, - the tone quality, the tone color.
- (Brett) Mmm. I mean, for me, it's the prettiest thing there, so... You guys are advocating so well, now I feel bad, - I feel like I have to go back on mine and start again.
- Plus, I mean... ...you know, there's a reason that it's like, literally first thing you hear before you enter into... - ...heaven.
- Yeah, that's true, it's really nice. - It's really nice.
- It's such a good instrument.
- So, you know... Like you hear that, you know you're in... Yeah, it's like you're in a good place. - So if you hear the saxophone, you're not in a good place.
- Yeah...! - Nice!
- Solid. - Well...
- Any other points anyone wanna add? I think the bass section is the coolest section in the orchestra. Okay, thank you for subscribing, guys! I think saxophone players would make the most money per note. - Or even harpists!
- I mean...
- Yeah. We literally read books while other people play. - Dude...!
- Yeah, but then you have...
- But when you do play, you have so many notes though. But do you guys have friends? I mean... Yes, no. - We have a gang, we're like...the bass gang.
- Yeah... - Yeah, yeah, yeah.
- Viola gang, but not...
- Yeah...! We were all in youth orchestra, - and then there's a pianist.
- Yeah. - They're just, in the room by themselves.
- Yeah.
- Yeah, there's just the guy on his own. Alex just practicing... - Sometimes there's two harps.
- I'm...I'm not responding to that. Alright guys, that's it. I don't know where this conversation went, comment your opinion below. And once again, go check out these guys. Subscribe, and we'll see you next time. Bye-bye.
