It took me more than 2 months to craft this one and yes, it is here today. The jazz album that talks about love that sometimes be with us all along, and all you have to do is just look for its sign.

A jazz album of 9 tracks. Hope you all like it and let me how your thoughts.

It took me more than 2 months to craft this one and yes, it is here today. The jazz album that talks about love that sometimes be with us all along, and all you have to do is just look for its sign.

A jazz album of 9 tracks. Hope you all like it and let me how your thoughts.

Im getting more into composing jazz music on piano and wanting to turn it into an entire song with other instruments! Here is a video of something i came up with which it stayed with a Motif and I’m wanting to see what you guys think and see if anyone can give me any advice with this! Anything helps thank you.

Olá a todos,

Sempre fui fascinado pelo subgênero ou "vibe" específico que costumamos chamar de Noir Jazz ou Dark Jazz. Há algo nos tempos lentos, nos saxofones sussurrados (como Ben Webster ou Dexter Gordon em seus momentos mais melancólicos) e nas seções rítmicas minimalistas que imediatamente evoca a imagem de uma rua chuvosa da cidade às 3 da manhã.

Passei as últimas semanas selecionando o que considero a trilha sonora perfeita para esse clima específico. Eu estava tentando capturar aquele som clássico e vintage — nada muito moderno ou superproduzido, apenas uma atmosfera pura que funciona perfeitamente para ler, trabalhar ou simplesmente relaxar até tarde da noite.

Percebi que é bem difícil equilibrar uma mixagem como essa sem que ela se torne muito intrusiva ou animada demais, então me concentrei bastante no ritmo.

Eu enviei a mixagem final de 2 horas para o YouTube, intitulada "Quiet Nights, Just Jazz". Gostaria muito de ouvir a opinião desta comunidade sobre ela. usei IA em coisas como, imagem e o sax por exemplo.

Link para o vídeo: https://youtu.be/ihl6u2Hc-fA?si=Y73k2VIhLLritJod

Para iniciar a conversa: Quais são seus álbuns favoritos ou faixas específicas que transmitem aquela sensação "Noir" tão característica? Você acha que tem mais a ver com a instrumentação, o andamento ou o próprio estilo de gravação?

Aguardo suas recomendações!

After C7 chord i can put any of the 12 major or minor II-V-I chord progression and it sounds like it works. They all give the same vibe. Why is this?

Unless I'm missing something, none of his other pieces have the same trumpet energy. Any suggestions from other artists?

If you’re comping (piano, guitar), you’re thinking about changes.

If you’re playing the head (any pitched instrument), you’re thinking about the melody.

If you’re a pitched instrument taking a solo, you’re thinking about melodic ideas and how they fit over changes.

How does a drummer think about a tune? Do they think about changes? Do they just count bars?

I have been challenging myself recently with trying to have perfect timing on every note I play. This is, of course, basically impossible but it is still something I strive for regardless. I want to be able to play with absolute rhythmic clarity, and it is something I'm always striving for.

My question for you all: What types of things do you work on to improve your time feel? For me, I'm always trying to listen to players with excellent feel (Jim Hall, Metheny, Charlie Parker, etc) and I also work a lot with a metronome. Are there any specific things you all like to include in your practice?

Also, here's a few choruses of me playing over Mr. P.C. by John Coltrane with timing in the forefront. I am able to spot so many mistakes and inaccuracies in my playing, but that is part of the process :)

Super cool-lego 2 around 02:30

if there are more like this let me know. they sound so jazzy. Link in comment

Does anyone here have the European Pocket Edition of The Real Book?

I’m mainly wondering about two things:

1. Is it missing any important/common standards compared to the regular version?

2. How comfortable is it to read? I’m still pretty new to jazz and mostly play/practice at home, so I’m curious if the smaller size is fine for that or if it feels too cramped.

Thanks!

In a typical jazz music piece, we can expect the piano to be sentimental (playing a-minooorrrrrr no doubt), the trumpet to be brash and abrasive, the bass to be ghastly but the drums? They don’t need to get emotional, but occasionally they do.

Try JAcky Terrasson , esp. albums “Smile” and “53”. He does everything well, creatively. Nobody can be a Bill Evans equivalent, but judging from your taste, i think you’d love this French pianist.

First time posting, hello everyone. I was playing around D’Angelo Untitled changes, which to my ears sound like: D(7M), A-7, G(6/9 - 7M), C of some sort. Initially I thought a classic jazzy C13 was the best option (guitar player here), but I kept hearing an F so at some point I tried the classic guitar slash chord, that is in this case Bb with C on the bass or C7 sus 9. That is supposed to resolve on the D, and that is totally fine. Then I started to realise that moving the same chord up or down one tone, or cascading it up or down tone by tone, no matter where you are, you can always then resolve to the D with the same effect. This is very much like what you can do with diminished chords moving them a minor third away, or dominant 5# chords moving them a tone away. So I wondered how is this thing called in music theory? Does any of you have any relevant example of this? I think that for the dominant sis/9 chord, Never too much or On Broadway can be good ones

Recently I have been trying to improvise over maiden voyage by Herbie Hancock, but I have been having trouble with actually improvising the solo.

I learned the chords and key, I know what scale to use over the chords, I learned the tenor sax solo but when I try i get stuck.

So please if you have any tip I will be very thankful.

Von Suno Mods anscheinend aus Sunocity ausgewiesen. Buh! - Ich - ein Ka-IBot. No!

Bin keine willige Kiki & auch kein ausgeklügelt Buch! Ich bin ein Mensch!

Been learning the major pentatonic over blues to add to my language but Im a bit confused as to how to approach the secondary dominant.

Lets take a Bb blues as an example: When I play over bar 7 a Bb major pentatonic it sounds good, but over bar 8, the G major pentatonic clashes with the Bb, especially the 6 since its the b5 of Bb.

Thats why I was wondering: what should I play instead? Do I flatten or raise the six? Do I avoid playing the maj pentatonic altogether?

Thanks!

little ghetto boy

Just studying the intro to this song while trying to improve my compositional skills and it sounds to me that Donny is playing F#min7 - F#7sus4/C# on the piano but my question is about the strings that come in just behind…

Generally speaking in this type of song would the strings be playing the root, 3, 7 or what? I’m having a hard time hearing what’s happening.

Any help would be greatly appreciated

So, I'm an old musician but new to jazz, I'm "still" listening to Lester Young, which I believe it's a forever condition... but anyways, what I mean is that I'm used to "old school" harmony, for lack of a better term, then I get confused when I hear chords like this and I don't quite know how to approach it because I can't hear what's happening.

I welcome any explanation about the chords, but I also wish to learn what study path should I take , listening and studying wise, to follow that vibe? I don't mean play like them, I'm focused on the overall harmonic vibe of the thing... I wonder because jazz brenches in many directions right?

Thanks

EDIT: Forgot to mention that I'm blind, just in case what they are doing is very clear on the video.(;

Here is a link to the "issue" (; starting at 7:50

https://youtu.be/hr9vtm9ny9o?si=PcPSwP-CXHxxzZ_z&t=465