In my mid 20s I kind of convinced myself that the best music has already been made and that there isn't anything new to look forward to. Domi and JD Beck have totally changed that for me. Thundercat is another modern artist that's just as good as anything classic. There are aplenty of extremely talented younger people playing music right now. It feels good to be excited about modern music again!
In my opinion, when multiple parts are recorded by the same player and each part is isolated, the sound tents to be a bit sterile. Still, I thought it would be nice to hear real players as opposed to sampled sounds.
@@AdiYeshaya oh, I didn’t mean in your videos, I meant in the records I’ve heard in the last 5-10years. Not all, but some that have real players. Maybe it’s the recording process? Because the sound is true when you go see a marching band for example
As a musician, I understand your analysis and agree with all you've said. But as others have said, it's not everyone's "vibe". I don't think I could listen to this music for more than a minute. I'd be afraid of having a seizure. lol Seems most like her because she can play so fast (I doubt anyone leaves one of their concerts humming one of their melodies). Just because you can play fast, doesn't mean you have to all the time. Props for all the talent she has, but I just don't like it.
First of all, thank you, thank you so much for this so rich content. Thank you for sharing this with us! I would like to clear up a doubt, if it is possible. Theoretically, how do you deal with the "cross-voicing" issue in your musical arrangements? In the examples showed in this video (e.g. at 9:12; 12:11 and 13:05), there are some cross-voicings that, academically, maybe would be avoided at all cost, but they sound so wonderful, really terrific, awesome! Are there any tips or rules you could recommend regarding this?
Hi, thank you for the kind words. Crossing inner voices is something I do on occasion to prevent repeating notes when the lead part is in motion. I hope that helps.
@@AdiYeshaya Thank you for your attention. However, in these examples I mentioned, the main melody merges with the secondary voices, crossing voices (or at least it seems like that happens, although aurally I don't feel or perceive that the voices have crossed. That's my question... Could you explain more about it? Or perhaps, please explain why in these cases it is not considered crossing voices. It's a simple question that, trust me, will help me a lot in my work as a musical arranger.
This whole arrangement reminds me of the work of Anne Dudley on Seal's 1994 album (that starts with the song Bring it On), and on the Human Being album. The string arrangements on these albums are superb, and made me fall in love with string arrangements. Highly recommended albums if you love string arrangements in a pop song context. 🎻🎻🎻❤🎻🎻🎻 And Seal posted these albums on his official RU-vid channel for all to enjoy! 🎻😍🎻
The 3 against 2 rhythm in the string parts, combined with the pick-up of the harp in bar 77 @ 10:24 makes a really nice passage, and also a nice transition to the suspended/unresolved chord in the strings that supports the harp ostinato. Lovely. 🎻🎻🎻😁🎻🎻
Hello, I teach both, privately and groups via Zoom. These are 12 sessions (30 hours) seminars about writing for horns and strings. For more information, email me at: adiyeshaya@icloud.com
Beautiful. I’ve been a musician my whole life and was a theory major many years ago, but I know very little about the intricacies of string arrangement. Loved hearing your thoughts and walkthrough.
5:46 wow...this is so cool D, C, F, Bb, but if you invert the fourths by putting Bb first it sounds so different D, Bb, F, C, either way this is great stuff and I love the Stan Getz reference
