What is that WEIRD rhythm in Stromae's Santé? | Q+A

hello everybody and welcome to the super fast instagram q a hold on do you hear that yeah one second man my trackers feel so much more aligned let's go this video is brought to you by curiositystream and my streaming service nebula coffee at the ready questions at the ready jazz bock the well tempered clavier at the ready thoughts on new strome song some really nice wonky rhythm immo yeah this new stromae tune is wild uh it's called sante check it out [Music] so this tune borrows very heavily from cumbia which is a style of music very popular across south america and it sounds specifically like it's a bolivian cumbia influence because of the use of charango trango is that strummed instrument that you hear at the beginning which is kind of like a miniature five string guitar i guess it's ten string with five courses but yeah it's that thing now cumbia is usually based on a groove which you can think of as like an eighth note plus two sixteenth notes [Music] you hear that groove in like basically every form of cumbia but sometimes sometimes that groove gets morphed a little bit like it's not strictly an eighth note plus two sixteenth notes those sixteenth notes are sometimes like rushed a little bit to match that rushed feeling of the charango in a digital audio workstation what stormy did was actually very interesting he took a basic dembo drum pattern where the snare hits on the uh of one and the and of two and he took the snares and moved them a 30 second note triplet earlier than where they would be normally if they were on a 16th note grid [Music] this gives the whole track this particular elasticity in the rhythm that feels like it's sucking you in and out almost like like the strange rhythmic side chain or like i don't know it has a very particular feeling that i think is cool on the big synth melody it looks like he has taken the synth and dragged it a 64th note over from the downbeat [Music] so there's almost like this hiccup kind of thing on the downbeat there's a strange combination of like being delayed on the downbeat but rushing the snares that give the track its unique rhythmic feel stromae had to program in these variations which we might call microrhythm very very tiny fluctuations in rhythm that give music its feel which a performer who plays on trango would just do naturally but yeah this track is such a vibe such a cool rhythm good stuff good stuff thoughts of victor wooten's teachings on 30 keys in music theory is easy video so victor wooten is a childhood hero of mine i look up to him quite a lot and it pains me to say this but victor wooten is wrong there are not 30 keys there are in fact more than 30 keys which is a strange statement to say so let's unpack it okay how many keys are there you'd think that because there are 12 notes there would be 12 keys right wrong 12 good answer but wrong for many cells of music in the west we use what's called the tonal system which is what keys relate to and in the tonal system we have two kinds of keys we got major keys and we got minor keys 24 is logical more logical than 12 because there's majors and minors so we have to double the total number of keys we're working with so you might think oh okay so there are 24 keys raw oh my god you're so wrong makes sense right still wrong there are in fact 30 and i'll let victor wooten explain 30 is the answer how many major keys have no sharps or no flats how many one somebody keep track there's one we can have a major key with one sharp we can have a major key with two sharps up to how many sharps seven we can have a major key with one flat we can have a major key with two flats up to how many flats seven so we have seven flat keys seven sharp keys one that's neither for a total off how many major keys 15 15 keys some of them sound the same like g flat and f sharp but they are not in fact the same key you spell them differently and you also think of them differently double it for a total of 30 keys my man is right so 15 major keys and the relative miners giving you a total of 30 keys but there's more let's take a look at good old js bach shall we we shall this is bosswell tempered clavier which is a collection of preludes and fugues a fugue is a style of music where you take a melody and then you repeat it but you repeat it in different keys and then you add different counter melodies and you kind of modulate between keys just getting used to the feeling of the melody in the different keys there's like a lot to it this is alfred mann's book on just how to write fugues which is like one particular kind of music from hundreds of years ago it's it's a whole thing anyway the important thing to remember about fugues is that once you've stated the subject the melody it's important to repeat the melody in the key of the dominant which is the key that's a perfect fifth above the key that you started you will always go to the key of the dominant when you play a few at least briefly at least for a small amount of time so if we take a look at the fugue number one in c major we start out with the first two measures in the key of c there are no sharps and flats but by the time we get to the third measure we introduce an f sharp which means that we are now in the key of g which is a perfect fifth away from c so what happens when we write a fugue in the key of c sharp major like c major has no sharps c sharp major has all the sharps well we have to go to the key of the dominant that's like a big part of fugues and by the third measure we do go to the key of the dominant by introducing this weird symbol this is an f double sharp the key of the dominant in c sharp major a key with all the sharps is g sharp a key with all the sharps plus one an f double sharp it's so sharp it's been doubled in sharpness now this is wild because this key shouldn't exist and yet it does exist right here and you can't really deny that it exists because mr j s spach himself used the key of g sharp major so how many keys are there could you potentially find keys with 9 sharps 10 sharps 11 sharps well maybe but their use would be extremely rare and this is an edge case anyway with a fairly extreme example of sharps and major keys so to answer the question that victor wooten posed which was how many keys are there okay how many keys are there it's at least 30. it's not a very satisfying answer i know but there are 30 ish keys how incredibly sick is tribaltech oh my god tribaltech is amazing scott henderson gary willis the other guy drummers are gonna be very mad at me the other guy from tribal tech kirk covington yeah insane progressive fusion band love their stuff the second chord to stairway yeah what is that chord i guessed it on a video that my friend paul davids made all about the second chord to stairway to heaven and how it's not a very easy chord to name you could name it c major seven sharp five over g sharp i guess that's what it is but it doesn't really capture the vibe of the chord like the feeling of the chord or at least what it means within the context of the progression because the second chord to me [Music] feels like a five chord it feels five v i'd want to name it some form of e which is the five in the key of a minor it just has like a five vibe right so i guess you'd have to call that like an e over g sharp add flat six to take care of the c anyway there's no real good answer here it's just the chord that makes sense within the context of the melody and uh yeah it makes sense on guitar too which i refuse to play what's the difference between a c9 and a c add9 chord now c9 means a c dominant seventh with the added nine in this case a d you can play that d anywhere it can be on top it can be smooshed in the middle you can revoice it any number of ways these are all c9 chords a c add 9 on the other hand means a c triad with no dominant 7th and the 9 has to be up an octave away from the triad if the d was played in between the c and e like this this is a c add two chord this is not logical at all this is just something that you have to know through experience the specific language of chord symbols and what they mean is not really all that standardized and it doesn't really make any logical sense and all attempts at making it more logical have just made it more confusing just know that c9 means that you can put the d anywhere and c add ni means you need to put the d on top d jokes truly truly the highest form of humor can you write music even if you don't know music theory it's helpful to think of music theory as a shared language for communicating ideas of sound between musicians without having to play the sound first at your instrument it's just an immediate way of communicating that sound thought from one person to another the reason why we say things like thirds and d major seven sharp five and two five one is that's the standard way of thinking about chords and sounds and it's a very useful one for playing different styles of music like jazz and maybe classical music and maybe i don't know rock music but so long as the language is shared among musicians you don't need to use the standard you could call this the fuzzy cord if you wanted to because it makes you feel all warm and fuzzy inside and so long as your bandmates know what you're talking about when you say the fuzzy cord that's music theory one of the reasons why i think people say that music theory helps you write music is because the process of learning music theory is the process of developing sonic vocabulary sounds that you are familiar with and have some idea of how to work with so for example you might learn about 251 right good stuff you don't need music theory to know the sound at all and there's so many great musicians who didn't like stan getz for example he was an amazing jazz musician who played entirely by ear you do not need to know the name of it however it is helpful to know the names of these things because it is a shared language among musicians of certain styles and music my friends is a collective experience and my god is it nice to be able to communicate ideas with my fellow musicians and just be on the same wavelength be on the same page that said there's definitely a point when trained musicians are sitting around and aren't really communicating using the formal language and are kind of reverting back to just playing sounds at each other yeah it's like uh with a yeah and then yeah but then then yeah yeah yeah yeah [Music] d major 7 9 c 7 9 13 e diminished 7 flat 5. so first of all it's redundant to call it e diminished 7 flat 5 because there is already a flat 5 in a diminished 7th chord so just call it an e diminished seven you might have meant e minor seven flat five in that case the progression sounds like this [Music] oh nice what that is is the one major seven going to the flat seven seven e minor seven flat five is an upper extension of c7 with the nine and the thirteen it's like c7 with a nine of the 13 without the c and without the 13. it also kind of sounds vaguely christmassy if i do dare so you dare so do dare say so myself the first two chords of christmas time is here although technically speaking that second quarter on christmas time is here is a dominant seventh with the sharp 11. [Music] [Applause] how did sungazer meet are you all berkeley trained yeah so we met at berkeley i believe that shawn and i met at one of the jam club jams there's a club at berkeley specifically dedicated to jamming like you could go to the jazz jam or the fusion jam or the funk jam it's a good way of meeting like-minded musicians and playing music with them in kind of like an informal way after that i think we played in an ensemble together which was a fusion ensemble and i remember very specifically we played the tune proto cosmos quite a lot unfortunately we don't have any recordings of it but if you know our music and you know the music of alan holdsworth you can kind of hear the beginnings of sun gazer and there for sure g major seven g minor seven yeah there's something really cool about this kind of chord loop where you're just alternating back and forth between like a major seven chord and a minor seven chord on the same route something that i really dig that does this is kaitano veloso's [Music] [Music] it just kind of goes back and forth between the one major seven and the one minor seven i found that soloing over this kind of loop is actually kind of tricky since you're staying on the same route it has this feeling of stasis but because you're going back and forth between minor and major there's this like movement [Music] why parallel fifths and octaves are illegal no they aren't illegal it's just that if you want to mimic this style of like j s bach maybe don't use them that often although yes i know technically he used them occasionally shut up don't at me it's like saying trombone is illegal in metal not technically but if you're trying to mimic the aesthetic of metal you're gonna have a hard time incorporating trombone if you're trying to mimic the aesthetic of j spa you're gonna have a hard time incorporating parallel fifths and octaves that said metal trombone is uh is pretty sick how do you get the middle east sound so i get asked this question sometimes and you see people talking about it in music theory forms and stuff there's this tradition in the west of reducing arabic and persian music down to a scale or a certain scale and usually it's just any scale with an augmented second in it which is problematic because it's like a caricature of many rich musical traditions and hollywood does this all the time you could see how ridiculous this is by asking the question how do you get that american european sound and answering the question with oh yeah just use the major scale which is i guess true but reducing down jazz music and classical music and rock music and really anything that uses the major scale to just the major scale is completely oversimplifying same way of reducing middle eastern and north african music to just a scale like it's a caricature of this tradition who's the sponsor of this video long time viewers of this channel know that i am constantly under threat of blocking because youtube has a special 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discover quality content that's entirely ad-free as well as support your favorite creators who have joined the platform nebula has partnered with another fantastic streaming service to bring you this video curiosity stream the go-to source on the internet for the very best documentaries with thousands and thousands of titles to choose from including fiddlin an excellent documentary all about old time and american bluegrass music in bluegrass everybody steps up and takes a break and tries to improv on top of what the last person did [Music] i really dig this documentary it's a fantastic look into a style of music and a culture that is not very uh prevalent on the internet so check it out if you're interested in signing up for curiosity stream for a limited time you'll also get a subscription to nebula for free you can go to the link in the description or curiositystream.com adamnelly to get one year of both streaming services for just 11.59 a 42 discount that you can only get now during 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Channel: Adam Neely

Views: 168,231

Keywords: adam, neely, jazz, fusion, bass, guitar, lesson, theory, music

Id: CAzl6xLe4as

Length: 17min 34sec (1054 seconds)

Published: Wed Dec 15 2021