Hello, i'm teaching audionumérique in France (principally with Ableton). And this years some of my new students try to make PHONK.

This is a try on this style :



Feedback are welcome.

 

Last edited: Feb 22, 2021

Ese saxofonista toca como los ángeles!

 

I dont understand the relation between the music you post and your question.
Jazz is not Phonk, but you know this already.

So which tracks do you want us to listen to to answer your question?

 

the first track
The others are just here because i love it

Merci

 

it's definitely not a phonk track

 

I'm a little lost with drill, trap, cloud, and all that kind of style i'm not familiar.
Perhaps my track is trap.

But do you consider that as PHONK ?

Thank you for you replies

 

From what little I know of this little-known Hip Hop sub-genre, the track posted above ^ fits with having the jazz sample.
Whereas the first track you played didn't.
Can I ask, why does it matter if the first track has elements of two sub-genres, or is even its own thing?
Genres are really just for industry.

 

Only the first track are concerning about my question the two jazz are just are just here to make known a super saxophonist i have the chance to record whrn he was my professor.
But your replie is also very interesting and true, everytime my student try to make "new genre"

but what i hear the lasts years on electronic is everybody mix different style he like to create (i'm not saying if it's good or bad).
We love put a sticker on a track (i'm the first) for understanding but, but finally it's only industrial Tag reason.

 

I think the issue is a question of modes and texture if that is understandable. The first example contains a jazzy influence, trap HHs triples and rolls, some pitches and drawn out bass drums, etc... but is missing the blue hue, it more related to jazzy Enigma with some trap hats than to the target texture.

It's a small difference but it matters in the same way bud & soap are not the same or how French bread and Italian bread are different. To someone who has only eaten Wonder Bread their whole life there is no difference but to the people that grew up on it the differences are big enough to fight wars over.

You have to get in the right mode and insure you can tap the blue notes in there, and it has to have the right texture. Your saxophone teacher might be useful in describing this if you are still on in contact with him.

Good Luck.

 

thank you jmoutton for your replies but infortunately this professor and saxophone player died in the end of 2017, and i make a mistake putting the link of this record on my question.
Only the first track are concerned.

 

Well if you can find someone else that speaks jazz the concept of the blue note and the blue hue can be explored in a smokey room with lots of liquor for lubrication.

Cheers.

 

Yes, of course. I take that for my next creation. A study piano jazz some years ago and i remember the concept of the blue note (augmented fourth)

 

Last edited: Feb 22, 2021

That is it's functional definition in a scale.

It isn't however what creates texture or hue. The blue note in its mythical expression is that one note in the right place at the right time that gives a musical expression life and it isn't happy or sad but it is heavy. Some great musicians spent most of their lives chasing that perfect blue note (tone/texture) turned to heroin in hopes of introspecting it and being able to feel it...

It's much easier to get a blue hue going, a shade of an emotion that is representative of being alive.

This is all very esoteric and it is part of a jazz culture that isn't very healthy but it is the shade of jazz that people choose to paint with when they do Phonk trap. This is what I mean when I say texture, it isn't hard to hear that your composition is just not the right texture and shade to fit in with in the target genre, but it is very hard to explain why if you couldn't hear it yourself. This is probably why not to many people responded either, it is rabbit hole nobody wants to explore with someone on a forum where anyone and everyone will pull the strings in a thousand different directions.

Find some people who feels jazz or someone who feels whatever it is on an emotional level and you can have an honest discussion on the subject without all the theory (which is still useful but not what we are talking about here,) and focus on application.

 

Yes i understand the fact that all that is at an other level than just theory. I have the chance to have in my friends that kind of people seeing "behind" that and make music as an answer of their feeling or spontaneous emotions.
All that make me remember why i leave piano jazz for classical course years ago, because each is own.
But i always love an put on the top of my piano player people like bill evans, thelonious, Corea and my all time favorite michel petrucciani.
The important is to never give up and continue liking music.