@@DragonSageKaimus Depends on the setting ;) with cartoon logic and enough hints, anything can become possible. That's the fun part of puzzle design in cartoon worlds.
I remember hating Rap as singing coz why tf you talking in the middle of a song 😅 Then I heard In The End and Eminem. Never thought LP rap & rock would be drugs till these days.
God I loved that. I would love a part 2 if you think you could. I loved the structure of the video and the jokes didn't feel overbearing. Super informative and confirmed some of the ideas I already had or taught me something new. Hats off to you my man.
I love this Friedemann! Looking forward to many more sessions like this, it’s super helpful. If you accept requests, I’d absolutely love also some video or videos talking about your favourite plugins and how you use them. Thank you always for everything you do and for showing your self more and more lately from a very authentic place of intimacy as a creator, I truly enjoyed listening to your Canohead music lately as well 🤲🏽♥️
Thanks for that :) Much appreciated. As for plugins, I really don't use that much fancy stuff. When I started out as a producer I tried a lot of things, these days it's maybe two dozen plugins I use over and over again, so I'm not sure it would be terribly interesting to listen to. I'm not into cult of the new, and prefer to use the stuff I know.
I'm a simple man, i see that you've uploaded a video, i watch said video 😂 I think you're really, really funny and inspirational. I love your videos a lot
I think AB started much earlier in history : ) Compare Handel and Mozart. Or even Medieval Gregorian Chants - there were rules for writing these religious chants, specific "devices", and you couldn't go much creative with.
Hm, I doubt Handel had a pianist playing Mozart for him while he was writing though. And the rules you are talking about, Counterpoint, were created by these composers, so yes, they are rules, but they had to be creative to create them in the first place.
@@Holistic-songwriting Pianist was not required. These composers had great ears and also handwritten scores of each other. Compare a random Handel piece and a random Mozart piece - it is really hard to distinguish one from another. One could argue, where is the creativity in these pieces? The harmony, rhythm, and orchestration are the same, cause that's how people wrote during that time. There was a trend. Well, the melodies are kinda different... but melodies are also different in the recent Top10. Is it enough for the melody to be different to call the piece "creative" or a new genre should be imposed with each piece? But then, a lot of composers everybody knows are not creative at all. If not genre, then a new Sound with each piece? But if the Sound is the element that makes the piece creative, then a lot of composers we know are not creative again! It is an interesting topic to reflect on if we go really deep. As far as the counterpoint, there was no counterpoint in Gregorian Chants - they were monophonic, sung in unison. Counterpoint techniques/rules came much later. I'm talking about the religious canon that prescribed the composers to write a certain way and not stray during the early Medieval Ages. The composers couldn't even put their names on their creations as the purpose of music creation was not for egoistic reasons but for God service only. Similar canons could be observed in visual arts of Medieval Ages, Ancient Egypt art, and others. So AB principle of copying what's "hype", what's "in the air", or "how it is supposed to be" and "easier to be consumed by public" takes roots much deeper in history. History is fascinating and can explain a lot of stuff happening now as, obviously, everything goes in cycles, and human nature hasn't changed during the last 40k years ) Enjoyed your video! Please post more!
I agree with the title but frankly I find this video terrible. You’re telling your audience what they want to hear: “your music is special. If you’re not successful, is probably because your taste is so special, people don’t get you” There are so many things I disagree but I’ll focus on 3: - your whole description of what commercial music means and who does it screams “I’m an academic who thinks I’m better than everyone and im not commercially successful so what’s successful sucks” . Is Billie Eillish/Fineas “unobtrusive” or “easy to replicate” ? Is Kendrick Lamar for people “who don’t care about music”? There are so many exemples - many songwriters/producers go out of their way to make their music appealing. John Mayer, Ryan Tedder, Max Martin etc all explicitly said they go to the charts to understand how this can influence their music. Are you gonna argue they are uninspired songwriters? - “what’s popular now takes years to make”. This is not true AT ALL, but if it is true, which is it? Is popular music complex and hard to replicate? Or is it simple and can be done by anyone? In summary, you’re encouraging people to go on their high horse, take forever to make music (because after all, great music takes a lot of time, right), shut their ears to what's relevant and get high off of their own artistisc egos, and when their work flops they can go back and say “who needs the charts? My music is special, not everyone gets it” sorry but I hate this message
Hey Vitor, let me answer each of these one by one, because I actually agree with all your points. I think the biggest misunderstanding is that "charting artists are exclusively copycats", which I don't believe. I would argue that Billie Eilish and Kendrick Lamar are spearhead artists who have done their own unique thing at a time when nobody did what they did. There have since been lots of copycats, but I consider them unique. And yes, like anyone, they can be replicated. As for John Mayer etc, I think again, these are inspired, unique artists so far down the other side of the spectrum that they can easily get inspired by the charts without losing their unique touch. As for the music that takes years to make, I was talking about spearhead music, things that are new. Copying others can be as quick as a day or two. Am I trying to encourage people to get on a high horse? Well, I'd rather have you up there than down in the dirt copying others for a living, thinking there is no other way. Like anything, it's a spectrum. I've met a lot of people who are deeply unhappy, and this video is directed at them.
Great motivational video, thank you. I find myself falling into this. When I have a idea for a song, I present it to others and compare it to other songs. It makes me thinking that I should change it based on the feedback. I’ve done that and lost my own vision.
When it comes to vocal melody construction, I think that notes that match implied chord tones sound stronger than ones that don’t, however ones that don’t sound a lot dreamier if you will…this is part of why Deftones choruses sound so different from other rock choruses, given that most rock vocalists sing the chord tones to make the belted notes sound louder and more impressive, even when the notes aren’t especially high (like D4-G4 for a lyric baritone)…
So, I came back for a second time. I created a logic template to your specs (you didn't link one below). So I added an 8 bar outro and the song length is only 2:34. That seems a bit short?
It's simple: make the music you want to hear. Give it your best! And a great quote I heard a while ago: If your dreams (= goals) don't scare you, you're not dreaming big enough.
Great video, i totally agree with the basic sentiment, but it comes across a bit black and white to me so I feel the need to make a point in defense of commercial/popular music. I think looking at trends in pop music doesn't only have to come from looking for an easy route to make as much money as possible. If it were just for that I'd agree with your very negative take on doing that. (Not because I think it's bad to want to make money with music. It just shouldn't come at the cost of sacrificing the art.) But there are two reasons why I think that (looking at trends) is super important. 1) Every great music ever has been influenced by what has been popular at the time that it's been made. That is one of the reasons I love music (and art in general). It's kinda like an iterative, collaborative system that always grows on top of what is already there. Of course we need originality and new ideas for it to not become boring and meaningless. But music that isn't rooted in existing culture is never good imo. Now granted that existing culture doesn't have to be mainstream but I don't see anything wrong with it being mainstream either. 2) To create that meaningful personal experience for the listener, they must be able to understand the music. I've worked with so many musicians (myself included) who are so scared of being "too mainstream" that they overcomplicate their music by so much that nobody except themselves can understand it and connect to it anymore. I myself struggle with making four chord songs because of the voice in my had telling me that's been done before and is commercial. I try to silence this voice as often as possible because trying to not make commercial music is equally as destructive to writing a song as trying to perfectly fit in with every trend. I like to think of trends in popular music the same way I think of music theory. It's not rules, it's more explanations why some things work better than others. It's not a good idea to follow them just for the sake of following them. But it's great to look at them for inspiration or to rely on them as widely shared vocabulary to make sure the messages and emotions I want to get across can be understood by as many people as possible.
After watching many Max Martin analyses he starts with melody. I haven't heard any length suggestions. If this motif is repetitious is there a good starting point for number of notes or beats?
I agree for the most part but aren’t we all influenced by artist and that culmination of influences is the result of what our music is. Not imitating but taking a little from each influence to create something unique with our own experiences and voice .
Thanks for this common-sense encouragement. Fortunately for me, I've only ever been walking an original path, not focusing on commercial viability. I can only create music that's original and moves me. I can't crank things out. My mind and soul won't let me.
Great speech. You have such a way with words. I have never been able to make commercial music anyway. I have not really found my own sound either. I like variety too much. I am a big fan of all styles of music. I fear I am a hopeless case.
Not necessarily. I think there are ways in which we can have the variety without giving up a clear image. It's what I tried with my second album, Only The Good Things. It does require a strong vision though.
