What I say, absolutely will be used against me in the court.




Before and after the year 1958:
Before 1958, jazz was based on tonal harmony from the European classical tradition. Understanding and internalizing diatonic harmony, chord function, tension and release, and voice-leading will help you play music from the New Orleans, swing, and bebop eras.
George Russell’s concept was an abandonment of tonal harmony. Today’s jazz theory is rooted in chord/scale unity from George Russell’s Lydian Chromatic Concept. The foundation of Russell’s concept is that a seven-note Lydian chord is more consonant than a seven-note Ionian (major scale) chord.



1- Are you able to establish a good relationship with it?

2- Has its relevant harmony been theorized knowingly or just following the classic-escaping tradition that was prevalent more than a century ago (you know, modernism, post-modernism, ...)?

3- Suppose you liked it, do you consent to make a jazz track?

 

Last edited by a moderator: Aug 10, 2016

It's one of the few things I can tolerate nowaday......

what do you mean?

 

If you'd like it, are you ready to fold up your sleeves and try to make a jazz music?

 

A good relationship? More like "just friends with benefits".

 

I absolutelly love jazz, but maybe not the classic jazz. I am more of a metheny/bossa/funk/fussion guy, but the principles are the same.

What i don't tolerate is a Xmajor Ionian chord with a natural 4th (maybe as a special effect to create more tension), but i tend to fly away from very close minor 2nds as they sound as if a horn was being played.

Again, it is a matter of taste...but in my case, any note in a 2nd minor interval from it's chord note and my testicles will try to hide UP (if that is what you are looking for, great...dissonance i mean, not your balls relocated to your tommy)

 

"Tolerate"? Interesting choice of words... Not sure about the sub-context of the question.

 

O/P. What absolute pointless dribble in your post! (nothing changes with you I see)

 

To your benefit:
(alarming - music in the background and they don't notice it much)
Why Americans Don’t Like Jazz (http://dyske.com/paper/778)

It's just the author's view.

 

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Quite an interesting article. The author is probably closer to the truth than even he might realize. I've gotta run now, but I will certainly be back to elongate this discussion further. It literally screams for more insight.

 

This is just another one of your nonsense postings, containing a meaningless collection of words designed to give the impression you actually know what you're taking about. It's a text version of verbal diarrhea - something you're a master at.

Try posting your actual *music* not your personal thesis on how Peruvian earthworms might produce music if they only listened to the sound of a mating amoeba who's happens to be wearing a sombrero - the one that used to belong to a famous Euphonium player?

 

Jazz and the African American
Literary Tradition

http://nationalhumanitiescenter.org/tserve/freedom/1917beyond/essays/jazz.htm

 

I selected yes with fear. I'm always afraid and see the nightmare of me been abducted by one of you and .....beep.

 

I already do, and from a lot of time......

 

Yeah, all of the members are chaste and me the only bitch here.

 

chastity? What the f*** does? I understand that your willing to chat cheerfully, but in this case I think you should find different paths.
Do not take it, but I do not think everyone here will pass the day with EDM or pop only, everybody tries to find inspiration in different musical genderes.
And it's not a matter of feeling superior or more cultured, you can do bad jazz music with wide musical bases and vice versa, as well as making good pop music or EDM is far from simple.

The point is to do what you like, or at least trying to do it. And if the results do not satisfy you, the study will surely improve, but it will never replace talent and inspiration.

I don't think Coltrane passed all his time studying the melodic implications between a chord in Lydian mode and one in Ionian one. Surely he knew that a given progression required notes based on a certain scale mode or on a mix of them, and then .... he played on it!

But I have to admit : I will never able to compose for or to play with Snarky Puppy