What Is Groove Part 2 with Adam Neely | In the Shop Episode #37 | Thomann

hello everybody this is Andy in the bass room recently Julie and I did a video on what his groove and we couldn't quite define it we just said it was a feeling and I said I would love to talk to Adam mealy and he could define what it was and explain in more musical terms well guess what here is Adam Lee and Julia how's it going everybody my name is Amy Lee just Adam Ely not bad Amelia and Julia and this is Julie so I have a lot of thoughts I'm like what groove is but before like giving my a few cents on it do you mind we're just talking about like the Viennese style right which is to me not really coming from that tradition it sounds like the second beat is delayed a little bit yeah all right I know it's gonna be stupid but do you mind like giving that example like with a metronome right now okay so okay I'll just sort of like is this like one two three one a little bit smelt like that you can dance to it okay cool cool so one two so to me like it's what you're doing is like you're really leaning into that first two beat it sounds like you're putting a lot of emphasis not just rhythmically but also dynamically yeah so it's more than just the combination of timing at least for me just in terms of creating a groove or does that how you're thinking about it er yes yeah okay so there's this term that I love and the term is micro rhythm and micro rhythm is this thing that a lot of academics use to describe the very slight variations of timing so it's not just like coordinate coordinate quarter note it's typically this quarter note occurs slightly ahead of the beat or slightly behind the beat okay and they use this term to describe all these slight variations so the micro rhythm of a Viennese Waltz has a particular sort of they call it in Iran setinterval when the pulse actually attacks versus when the beat actually is and you can measure that but you can't really notate it very well because when you notate it like we don't have a system for that yes so you can like listen to it like is it like the same thing with playing off the beat like like leaning backwards yeah yeah very very similar like you know it like a lot of time and like especially that gospel bit bass players they'll do these like crazy fills where they'll be like a head of the beats like really like a head of beat and they come really behind the beat but they're always aware of where the beat well actually is yeah okay and you know if you were to notate it it would still be all eighth notes or still 16th notes but the actual feeling of it is comes from that precise mathematical relationship to that like Madonna P yes there's do you know Gnawa music a chance so now one music is the style music from Morocco and to me it actually sounds very similar to the Viennese Waltz okay one cuz it's it's in three and it's also very like wonky three like it doesn't actually it's not that one two three one there's like this very particular feeling that's created from like a very odd relationship between each one of the pulses so the micro rhythm of nawa music from Morocco to me anyway it sounds very similar to like Viennese music and it all comes from that idea that the musicians have very carefully fine-tuned their inner clock to know okay I need to push this meat I need to push it in this direction or pull it this direction and I feel like there's a micro rhythm for like every style of music there's a very particular kind of push and pull for each one of them and you guys were talking earlier like it's a feeling that you get is that like what's your what are your thoughts on it yeah when you play groove like a groove yeah it's kind of a feeling I always have the drummer in my mind hmm yeah and I try to imagine to play to to the drummer and feel where my bead is and I think when you listen to a lot of music you get to know that feeling um by the time so do you feel like you need to do it like you need to actually practice that feeling like with that in mind in order to get into it or is it just listening to it all the time listening but I have to when I want to play it I really have to get it into my fingers sometimes it's my head but I can do it or played with the instrument so you say get it into your fingers meeting it physically do basically I'm doing it so I've always found that too is like you have to there has to be an embodied aspect of the rhythm like you can't just think about you can't just listen to it like oh yeah that's like 17 against 24 which is a ridiculous polyrhythm but you have to actually physically do it in order for it to make sense and yes that feeling and there's just really interesting debate right now going on about whether or not rhythm like your perception of rhythm happens in your head or if it happens in your body meaning like scientists we're studying the brain neuroscientists have been trying to find the point of beat detection for so long which is like where in the brain do we hear rhythm like where like what's the part of the brain which perceives rhythm because we already know what part of the brain perceives like language I would a part of the brain perceives like light we don't know what part of the brain perceives rhythm and like we've never really been able to like lock that down and so the going theory right now is that it's your body it's basically movement of the body which perceives rhythm it's a kinesthetic sense it's an emergent property from like movements and so when you said I need to get into my fingers I'm like whoa yeah to get that feeling you get the feeling of moving your fingers like that you can't just automatically know what it is yeah and it's in my body too when I'm playing like right the beat is always in my body buddy and that was something that I have only been learning like recently is like I need to move my body as I'm playing yeah for the longest time I just know I come through this and you know my rhythm has improved so much now that I'm just yeah which he knows for a while I thought it's like I don't need to do that that's like this extraneous that's like people putting on a show that's like not actually like what it is yeah but it's just so much better now that like I've unlocked that and when you say groove is a feeling like it's physically a feeling like in your body yeah so like that micro rhythm of making sure to move it like four or your back where it really comes from the movement of the body because you're not always moving strictly metronomic ly it's like a lot more yeah coming from the body but I think you can train this because a lot of children can clip from one to four really in a in the borrow in the measure yeah yeah and you really can train this to get used to that feeling I think yeah do you think oh for sure yeah I mean you can train anything I mean we're all human like it doesn't really and we come from different cultures there's so many different kinds of styles of music but we can always like get into that feeling it does take a while though when you're not used to it [Music] when like I always feel like we can like we never we never talk all that much with dancers do you have you ever like worked with dancers at all or like played bass behind me no yeah I mean I've done it a couple times but like it's a very strange thing because they have a different way of thinking about rhythm too because they have eight counts they have choreography like when they move in the measure like weights weight a little bit on this eight count I always found it really strange that we don't have this common language with dancers because we're dealing with the same thing like right moving in time yes playing in time but we speak a very different kind of just not the same like language language he has it's a different thing but I was found that strange because at the core of it we're moving our bodies in time we're just doing it to produce musical sounds and they're doing it because it's dance but I just thought that it was always an interesting thing that dancers and musicians never like spoke that same right it's also very hard to play and dance at the same yeah yeah okay it's pretty cool I got this too like there you have I don't have this yeah yeah we can do dan CSS yeah I got that down that's yeah and then backwards do you know this one oh god I can't I can do this one and I can also up and down I can do that oh yes yeah yeah so to me that's what groove I mean I agree with the idea that it's a feeling and it's an embodied feeling it's really in your in your body Bobby and I mean just speaking for me personally I haven't I haven't really connected with that in a while I've been really connected with that until recently I should say but um yeah that's nice that's my that's my take that's what groove is thank you very much for explaining what Rufus thanks for watching my name is Julia and my name is Adam Bailey bye

Channel: Thomann's Guitars & Basses

Views: 60,059

Rating: 4.8820696 out of 5

Keywords: musikhaus, thomann, music, demo, review, adam neely, julia hofer, in the shop, in the shop episode 37, what is groove, what is groove part 2, what is groove adam neely, fender bass, fender p bass, adam neely 7 11, adam neely bass, what is groove bass, bass groove, playing laid back, playing ahead of the beat, playing waltz, bass rhythm, bass rhythm lesson, microrhythm, get in the groove, adam neely bass lesson, adam neely rhythm lesson, adam neely rhythm, tgu19

Id: c3wDzfFhnag

Length: 9min 41sec (581 seconds)

Published: Thu Jun 20 2019