GinjahNinjah9 Honestly this probably one of the worst synths to buy if you want to learn synthesis. All the parameters are behind many layers of complex menus. Try a bass station or microbrute.
@@dark3rthanshadows That's pretty much the point. Jacob Collier is amazing, but there was nothing particularly special about what he did there. It's just the pentatonic scale.
Jacob's face at 5:48 sums up why anybody should pursue music in any form. His pure joy from the back and forth with Larnell as well as his obvious epiphany to continue the riff that Larnell started is so cool. It represents how music should be and how much more fun it is when you have a greater understanding of all its components. Great video.
"Why anybody should pursue music in any form" Thank you for this. I often feel disheartened when I see people of this skill level jamming. But you're right, we shall pursue to have our own moments like this. I'm gonna go play guitar
You can call me crazy but this is my favourite Jacob Collier performance. Spontaneous, funky, playful, fun and the constraints of the setup created a sense of contained energy desiring escape.
@@juanquiroga8933 I believe it's built upon Sus chords with the 4th, 7th and 9th, which may sound difficult but only consists in a major triad played a whole-step below the note in the bassline. For example, when you play G (note) in the Left Hand and F major (F,A,C) in the Right Hand. This kinda chord is very good for outside progressions like this because it doesn't have the third (major or minor), which makes it easier to follow random patterns and get an awesome sound. So, in this case, he is doing fifth progressions (just like somebody said above) in whole steps, and then getting back to C groove. He starts in A on the first progression, then play the same a half-step below in the second one, and then a half-step above, in the third. I'll try to illustrate that writing hands apart: 1° Progression: LH(notes only): A, D, G, C, F, Bb RH(major triads): G, C, F, Bb, Eb(inverted), Ab(inverted) goes back to the C groove. 2° Progression: LH: G#, C#, F#, B, E, A RH: F#, B, E, A, D, G 3° Progression: LH: A#, D#, G#, C#, F#, B RH: G#, C#, F#, B, E, A He uses some inversions sometimes because of controller's size but, thats it. Hope I could help somebody understand it. 👍
the one at 2:14 is: R.H : GBD - GCE - FAC -F(Bb)D - G(Bb)Eb - Ab(C)Eb L.H : A C G C F Bb The one at 2:19 is: R.H : Gb(Bb)Db - Gb(B)Eb - E(Ab)C - A(Db)F - AD(F#) - GBD L.H : Ab Db Gb B E A And finally, the one at 2:24: R.H : Ab(C)Eb - G(Bb)DF - Gb(Bb)Db - Gb(B)Eb - E(Ab)CD - A(C#)E L.H : Bb Eb Ab Db Gb B Jacob is essentially playing progressions that go up fourths using mostly sus chords, with a couple exceptions. I only used parentheses to make it look more orderly, otherwise they mean nothing special.
Honestly think it might ruin the magic, this was born out of the limitations they had places on them at the time. But hey they’re both amazing so for all I know they could do something better with more
I love when he starts getting really far out with polyrhythms and weird subdivisions, like at 2:35. Seems like he's testing how far he can push Larnell without losing the groove.
@dylan foley I think it's more our perception of his choices. It's easier for most people to follow his groove when he's confined by this limitation, but his note choices still imply all sorts of stuff that even educated musicians have trouble following at the speed he can dish it out at.
Man that shit happens! I used to jam alone or with friends in my backyard and many times I heard sounds from the neighbors or from the streets that fits the bpm, it's crazy, I think music connects everything
@@benjaminzuniga9643 yes or when youre humming a Melody or playing some instruments wich harmonizes with external sounds like Cars spamming on brakes and stuff like that!!
It's always so weird to see musicians like casually multi-tasking, doing other things when they are playing. It's kinda like driving. When I first learned stick shift, it felt like it took all my brain power to no like stall the car. Before long I could drive, eat, shift gears and steer with my knee on the underside of the steering wheel. Like logically I know that must be what's going on in their heads but, it seems so kinda magical that like patterns of rhythm and melody can make such emotionally compelling things from such simple building blocks. Blows my mind every time.
Holy crap. There were parts where they played the same thing over and over, but they kinda desynced. I thought ... wtf? Until I saw Jacobs big smile and realized, they aren't improvising pitch, they are improvising rythm. And they aren't out of sync at all, they are just way over my head. Wtf, never experienced that before. Very humbling. Having such talent among us brings me to tears.
I love how the crowd was bobbing less and less and they went. It started sinking in that these guys are REAL artists and could go on for hours because they love creating music more than they love the ooohs and ahhhs. They're literally communicating. Music is so amazing!
@@theanarkiddie4569 Chief? Aight. If you haven't been in a musical situation that caused you to bob your head for more than 10 minutes, you haven't lived yet, bruh.
The more I learn about theory, the mote amazing this jam gets every time I watch it. Jacob is undoubtedly throwing out everything he can to mess with the timing at will knowing hes with one of the very small few who can follow on the fly
@@alemutasa6189I say the time or the timing? Do you not know about things like syncopation, rhythm, phrasing, or even that two licks don't need to start and end in the same spots or where you'd expect them to or lock onto the best exactly the same? I don't know if you've ever actually jammed before, but usually one guy can't go avante garde with their melody and expect everyone else to read their mind. Your buddy in the basement isn't going to adjust their beat to the keys part at 2:35 in less than ten seconds like lewis does, he's going to stop playing and think. The keys part gets extremely wonky to count.... In 4/4.
@@lukes9192 I don't care what you said about time or timing, I care about the "throw everything they have at each other and messing with each other knowing that they'll both manage" idiocy. They may be doing continuous quintuplets over syncopated septuplets or polyrythms that go over an x amout of bars, doesn't matter, it's virtually impossible to be lost in a 4/4 jam, so they're not "throwing stuff at each other", they're jamming and they're having fun, definitely not pushing anybody's understanding of what's going on since the jam is in fucking 4/4. Why americans need to find competition in everything? As I said, fucking chill, they're not giving medals away all the time, sometimes people just want to have fun and express themselves. Oh yeah, I've played drums for twenty years and I've been jamming with lots of people since my first drum kit every week 😉
@@alemutasa6189 who said competition? You're the one trying to feel smarter than me over a comment I made two years ago lol, you're the one claiming to 'jam every week for 20 years' (right dude) and I'm making it a competition for saying that Collier is clearly throwing in difficult rhythms with someone who can handle it? Read very carefully: I didn't say he's trying to mess up Larnell, I didn't say it's a fucking guitar hero battle, I said he's trying to mess with the timing with someone who can handle it. As in it is a PRIVILEGE to team up with somebody who can just sync up to anything on the fly in an improv, improv WELL, not just maintaining a four beat while Collier does anything else, out of nowhere without really knowing the other player. If you're a remotely serious musician in a genre that utilizes any of that crazy stuff you said, you definitely know that you need to be conscious of the people around you and play what the jam can realistically handle, or you're a loser who kills it. Collier has a lot of colleagues that are all world musicians, I'm sure he can do this all the time, it's still cool for people who aren't- including you- to watch that kind of artistry, because it is a very modern, cohesive jam, and no doubt very difficult to pull off from scratch, because Collier is famously creative and complex, and never plays the same thing twice I'm over here appreciating this video, and you're being a tool. You don't know the colloquial difference between timing and time signature so you wanted to be tool and compete with me while I'm over here enjoying that jam. You don't like that you didn't and still don't understand what I'm saying so you wanna up the douche bag anti. You must be so fun to improv with lol. I'm sure you are a very agreeable person who has never once gotten lost ever because once you counted to four for the first time it's impossible for a rhythm to be difficult unless it's in an obscure signature. I'm sure someone can throw all the big words you wanted to use at you in a jam and you'd ACCENT those triplets and rhythms, not just play a basic ass four beat over it or get lost. Well, that, or you're not as cultured and talented as you expect. We all know that musicians with no humility are always the best ones. If you're really saying that, for example, that section I highlighted is basic improv, and that kind of staggering, wobbly beat he played under it is a basic idea anybody would've done because it's in four, then I call BS. The fact that he isn't getting lost isn't the impressive part, it's that Collier is changing up his rhythm every couple bars and Larnell is moving with it and changing his rhythms under it and complementing it very, very well. That's impressive even for all world musicians. Idk if you're just not picking up on what's going on, or if you're the most pretentious person on the planet, but it's not impressive. What do you want me to say, good for you??
@@alemutasa6189I'm sorry but I don't even think that's true. A basic 4/4 is easy to jam to. But polyrhythms and weird timings can very easily throw off your count if you aren't paying attention.
Jacob is testing larnell on his talent of keeping time. I love how he is trying to push on what he can get away with, but at the same time larnell is still keeping the groove and the time going. Midi drums are a different demon and to keep the pocket so good as larnell is doing it is a testament of his skill
This is true. And that any existing Larnell Lewis footage recorded since this upload actually captures his capability to manifest himself physically across different time zones to play drums whilst still simultaneously jamming here.
THEY NEED TO COLLABORATE MORE. I love these two musicians so much and the grooves they could create together with full-fledged instruments and time.... oh buddy
The relationship between the musicians and their tools in conjunction with their musical communication and adaptability makes for some incredible moments
You have to admit it's beautiful when two people freestyle each with something in their head just playing but actually reacting to one another. I don't know. Music is beautiful
I want to be half as good at anything as Jacob is at music. Must feel so free of restraint of anything. Just think and do without interruption. It’s the only way you can be this insanely good.
I'm glad you posted your angle on this!! I really liked my spot being sandwiched between Jacob and Larnell, but it didn't make for nearly as nice of a video as yours did haha :p
@@jazzupthattriad1257 hahahaha this person is SO talented and above all of us that he's on RU-vid letting us know so SURELY he must be as great as he perceives himself to be, because if he wasn't, what he's attempting to do, would be actually quite pathetic, to the point that I'd feel sorry for him. Or, I just think this proves that you have to be smart to understand what Jacob does, and this guy isn't. He doesn't get it, so he's disguising himself to be smart to hide his shame of being INCREDIBLY inept and stupid. Again, it's sad either way.
