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  1. #101

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    Quote Originally Posted by fuzzthebee View Post
    Cool tune, Jordan! I have a "nerd" question - with the polyrhythmic thing going on, did you notate that in 3/4, or as triplets in 4 (12/8).
    Thanks fuzz.

    As for the polyrhythmic thing, is there a particular section you're referring to? Or just the overall thing?

    I think there's a sort of metric modulation in here at some point. That's why I'm asking.

    But I chose to notate the entire thing in just one time sig anyway.

    I'd originally wrote the whole thing out in 6/8 thinking that would be the easiest way to conceive of the tune. I showed it the guy I was studying arranging with at the time and he was like, "Yeah this is cool, now you need to go and re-write the whole thing out in 3/4... if you want anybody to be able to read this without hours of rehearsing."

    He was right. The melody plays and accents the syncopated '&' constantly. And in 6/8, those get notated out with 16th notes. It was a mess. It looked so visually confusing. It took a ridiculous number of hours to rewrite, as the score was about 50 pages. But now it's all 8th notes. So much easier to read. Still took a bit to work out the kinks, but surprisingly my guys nailed it with relatively little rehearsal. Those guys had some serious reading chops. It was awesome.

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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    Quote Originally Posted by fuzzthebee View Post
    Thanks. That answers my question. I can "trick" myself into hearing a 4/4 triplet thing throughout, which also would have been a nightmare to read, I imagine.
    Hahaha, yeah that would have definitely been a nightmare!

    Straight 3/4. Lots of 8th note. Easy peasy.

    If I remember, I think the met mod was just taking half notes from the 3/4 turning them into quarter notes of a slower feel of 3/4

    (12)(31)(23)(12) etc etc.

    I thought about notating that - putting above the staff something like half note = quarter note... and then a few bars later, notating it back - but it just seemed so excessive and unnecessary. I figured if I just wrote the rhythms legibly and concisely in the original time feel that everybody would pick up on it. Which is what happened. After 1 or 2 run throughs on that section everybody was on the same page.

  4. #103
    Quote Originally Posted by jordanklemons View Post
    Not sure if this is meant to be tunes we're working on, or already completed and recorded pieces...

    But here's a tune I wrote that ended up being the title track off my last album
    I loved every bit of it .
    Composition,arrangement and your guitar sound stood out perfect with the horns.
    Uffe Steen Music: http://www.uffe-steen.dk

  5. #104

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    Just out!

    ddtrio | Free Listening on SoundCloud


    Sent from my iPad using Tapatalk

  6. #105

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    Quote Originally Posted by pkirk View Post
    nice, everybody. I enjoyed these.

    I don't compose much these days, but here's a blues head/groove from 2007

    https://youtu.be/Dacm5yz9Gnk

    not much of a composition, but I liked the "one chorus solo" approach. I got a bit carried away with the FX unit.

    if you have the patience and want to hear a jazz example, here's a link to a recording I did with that quintet of all original compositions
    Watercourse Records: (x)tet
    the tune "song two" is another one I wrote. (I'm not sure how to post the track here directly, and I've lost the files...).
    Uao! Sounds good


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  7. #106

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    I forgot this for solo classical guitar





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  8. #107
    The probable shape of our Universe is the Poincarré's Dodécahédron

  9. #108

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    That's a really nice tune, Jeff. Is that unplugged?

    John

    Sent from my SM-J700T using Tapatalk

  10. #109

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    This one's with its section of narrative (part of a larger piece).

    The music behind the narrative alludes to another song in the work, whereas the song here is performed as an acoustic trio of trombone, double bass and rhythm guitar plus vocal:
    Last edited by destinytot; 05-02-2017 at 05:14 AM.

  11. #110

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    From an open-mic back a couple of years. Forgive the poor recording quality, please.


  12. #111

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    Quote Originally Posted by Thumpalumpacus View Post
    From an open-mic back a couple of years. Forgive the poor recording quality, please.

    Such bold vulnerability in this live performance. Love it.

    (Reminded me of questions posed at the start of a talk I heard recently; "What are the needs of the day, and how - as artists - can we serve the world in its constantly evolving form?")

  13. #112

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    Thanks. I played a jazz original in that set too, but being fingerstyle, the sound is ... yikes ...

    Those are some good questions you pose. I guess if I had to answer, I'd simply say that service to the song is the best I manage for right now, and just hope it's the right song for the time.
    Last edited by Thumpalumpacus; 05-02-2017 at 07:18 PM.

  14. #113

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    Quote Originally Posted by John A. View Post
    That's a really nice tune, Jeff. Is that unplugged?

    John

    Sent from my SM-J700T using Tapatalk
    Thanks John, lightly amplified, but the guitar has quite a bit of acoustic volume, so you're hearing a lot of that on top.

    Quote Originally Posted by fuzzthebee View Post
    This is really nice. It has a Metheny vibe, to my ear.
    Thank you! Re: PM, yes, very much so. I'm very inspired/influenced by the way Pat writes.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  15. #114

  16. #115

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    here is a fusion-trans oriented stuff I wrote with my friend Chris. Plus we were lucky to record that with some of the best musicians in Poland - check the drummer, bass and sax player

  17. #116

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    Quote Originally Posted by Hyppolyte Bergamotte View Post
    Very nice tone!


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  18. #117

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    Inspired by Kurt Rosenwinkel's "Caipi" album .... only I did it 20 years before his attempt (and I did not think it was good, I was actually looking for someone to do it properly) ... the 1st song is the only one with lyrics not in English language ... the 4th song is the only one with guitar, not much of it though, just a short solo, but the "backing" is Bossa ... also in explanation I made a mistake and wrote "inducted", of course, it should be "induced" instead, but well, we can't all be Kurt ...

    ^ ^ ^
    <<< My BlogSpot Page >>>
    v v v

  19. #118

  20. #119

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    Ragman1, your first post Potsdam is luverly, though it does start to "wander" somewhat at about 2'50" in. Great potential there for future arrangent involving horns ?? And the Lost Balloon is sort of all kind of poignant and magical........Prospect Park by Ric Troll just transported me away, very powerful stuff.

    This is probably the most interesting subforum for me personally and it would be great that each composition got its own little thread. As it is, this is just way too much of a good thing IMHO.

  21. #120

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    When I get round to making a decent recording of one of my tunes, it's def getting its own thread

  22. #121

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    Well I try to check out any new threads here, and always comment on any one that grabs me in some way. By the way, I'm not going to even ask how you get that insane tone in "easy c minor blues final"

  23. #122

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    Hello everyone,

    It is a very good idea to share our compositions. Can't wait to listen to other memebers stuff.

    Here is a composition I recorded last year. If anyone is interested I can give the sheet music with pleasure.

    Take care.



    S.

  24. #123
    Quote Originally Posted by Spal View Post
    Hello everyone,

    It is a very good idea to share our compositions. Can't wait to listen to other memebers stuff.

    Here is a composition I recorded last year. If anyone is interested I can give the sheet music with pleasure.

    Take care.



    S.
    Great! I checked your other stuff on You Tube. You have your certain style.
    Uffe Steen Music: http://www.uffe-steen.dk

  25. #124
    Quote Originally Posted by Hyppolyte Bergamotte View Post
    I´ve heard this before . Its getting better and better
    Uffe Steen Music: http://www.uffe-steen.dk

  26. #125

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    Hey,

    Check out my composition:



    Looking forward to your comments

  27. #126
    Man there's so much great stuff on this thread. I'll go out on a limb and throw one of my own out there. It's a Bobby Timmons inspired hard Bop tune called Betcha Can't. I recorded it with a school jazz combo and two mics.

    Michael Hilbun - Guitarist, Instructor, Composer
    www.michaelhilbun.com

  28. #127
    Not bad at all. Very jazzy! If you did it at school you (all) must have been quite young. Hope you did shows :-)

  29. #128
    Quote Originally Posted by ragman1 View Post
    Not bad at all. Very jazzy! If you did it at school you (all) must have been quite young. Hope you did shows :-)
    Thank you! Not that long ago actually! This tune/recording is from about a year ago. I only just graduated from my undergrad studies earlier this month. I'll be re-recording it as part of my first record along with the other tunes on my SoundCloud and more. Tell me what you think of this one. It's an older composition but newer recording. It's called Fifty-68!

    Michael Hilbun - Guitarist, Instructor, Composer
    www.michaelhilbun.com

  30. #129
    It's good. Do you just want me to say it was great or give you something constructive? I've never liked people who say everything's wonderful to keep you sweet.

    I think the tunes's good. Very good rhythmically and harmonically. I think the level of instrumental playing's excellent. Drums, sax, these guys know what they're doing. Not perfect but pretty damn good.

    But you're the guitarist and you're here! Again good. I liked the slight overdrive. If I have one idea it's that your solo bordered a little on pentatonic and other set-ish forms rather than lines - but you've got your altered sounds off, which is good. The sax player - because they practice and learn that way - used more lines which, to be honest, is probably better jazz. But guitar is hard, let no one tell you otherwise. But it was still good and personally I think the band has a future...

    Unless it was only school/undergrad stuff that'll be forgotten once you've left and get into the cruel, demanding world :-)

    By the way, what are you studying? Music, presumably... or not?

  31. #130
    Thanks! No I'm not one who just wants to be told "good job". I don't learn anything from "good job", so I value actual critiques. I'm glad you like the tune! At its core, it's just a blues! With the changing time signatures, I probably did just stick to pentatonic stuff. Soloing in odd time signatures is a tricky enough thing even without all kinds of crazy scales and what not. Like I said earlier, I'll be re-recording it for a record I'm doing, so I'll be sure to practice exploring other sounds than pentatonic.

    As for what you said about the band's future, unfortunately we all knew each other from school and we've all graduated and gone separate ways. As for myself, I studied jazz studies at University of Louisiana at Lafayette and took some composition lessons. In August, I'll be starting work on my Masters degree at the University of New Orleans studying with Steve Masakowski. There's way more jazz in New Orleans!
    Michael Hilbun - Guitarist, Instructor, Composer
    www.michaelhilbun.com

  32. #131
    Well, it all sounds brilliant. I envy you!

    Yes, odd time sigs aren't easy. I tried 5/4 the other month and it tied me up in knots :-)

  33. #132

  34. #133

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    copied this from my other post to here, trying to get the hang of this, no fun being old in a modern world


    "Think it Through" Jazz Waltz

    One i wrote, "Think it Through" guitar myself with horns, this was purely to send to my notators,
    so is very accurate, but very dry not too far out playing but 100%, because they are so good they notate mistakes, i learnt this the hard way.

    Form AABA 16 in/outro Jazz Waltz Jazz Fusion Rock vibe, no improv, just straight thro entire piece. It has been recorded with Piano, TS, Trp, Bass,Drums,Guitar with improvised solos.

    Interesting hearing your own compositions, played for 1st time, say on Trombones Horns, etc there are tiny differences, since the guitar played fast mordent type figures & glisses which very difficult to notate, (easy to play)

  35. #134

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    Quote Originally Posted by kris View Post
    New tune I played my short scale nylon strings guitar-Antonio Sanches 1020A:
    https://app.box.com/s/zgbkupyttz99uykckqowqmhp6jgz17zz
    Very nice and fluid.

  36. #135

  37. #136

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    I often perform my own compositions, so I'm trying not to spam this thread too much but I thought you might enjoy this slightly 30 degree heatwave addled version of my tune Nibiru, which I posted a leadsheet for a few months back and a few forum members made recordings of.

    It's a contrefact. Name that tune!



    Personel:

    Christian Miller - Guitar
    Marcus Penrose - Double Bass
    Adam Texiera - Drums

    2 people in the audience sweating half to death and the windows wide open... That's a jazz gig!

  38. #137

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    Quote Originally Posted by Tandoori View Post
    Thanks Christian.


    I have many pieces, all fairly different, just happens, its a weird process, without sounding up myself very organic. Never planned but with a lot of input. if that makes sense.


    That particular piece has a few bars of the Barry Harris goodies, That boy is the world best in terms of elegant swing (end of) not even Keith J Corea, Bill E can do that.


    thx again, as you probably know it is almost impossible to hear ones own work, (you sort of know and you dont know)
    Yep Barry is up there in the pantheon of swinging along with Wynton Kelly, Red, Hank Jones....

    It's often the way I'll hear some Blue Note era record I've never heard, hear some fantastic piano and realise that of course, it's Barry.

    I try to model my swing on his - I love his style, laid back, straightish, but with elegant triplet embellishments and always catching the upbeat in the right place. I think Raney was his closest equivalent on guitar - no surprise the Barry singled Jimmy out for praise among guitar players. Bruce Foreman has some of that in his playing too I think?

  39. #138

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    Well, I skimmed through the stuff above sorry for repetition or stating the obvious, but for 4 on 3 (which I confess is not a rhythm I have used) I would start with subdivision.

    Divide the 3/4 bar into 16th notes:

    1 2 3 4 1 2 3 4 1 2 3 4

    Or

    Ta ka di mi Ta ka di mi Ta ka di mi

    Then group thusly, bold is the beat, not the accent:

    1 2 3 1 2 3 1 2 3 1 2 3
    Or
    Ta ki da Ta ki da Ta ki da Ta ki da

    Then just count the 1's and leave out the others, or just say the 'Ta's

    Pretty straightforward, no? Groupings of 3 against 4 is a pretty old jazz rhythm. Think It Don't Mean a Thing - doo wa doo wa doo wa.

    I'm pretty sure I've seen 4 on 3 in a few charts - IIRC there's one in the Real Book?
    Last edited by christianm77; 06-20-2017 at 06:46 AM.

  40. #139

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    [QUOTE=Tandoori;781905]
    Quote Originally Posted by christianm77 View Post
    Well, I skimmed through the stuff above sorry for repetition or stating the obvious, but for 4 on 3 (which I confess is not a rhythm I have used) I would start with subdivision.


    Divide the 3/4 bar into 16th notes:: I would not start 16ths ,




    Christian glad to see youre interested , good boy,


    Without sounding rude, You are over complicating it i know what you trying to do.


    here goes


    A. Two 2 beats each a dotted crotchet in 3/4 makes each beat 1 1/2 X 2 = 3 beats


    B. divide each beat 1.5 into half makes 2 dotted quavers per dotted crotchet so now 4 dotted quavers per bar gives you 4 beats over three all the same



    The hard part is
    A. reading it if not familiar
    B. Conceptualizing it @first


    This is actually pretty easy to play. it is really a feel, trust me if you start thinking it can be difficult.
    So the trick is to understand what is is then just kind of feel it, Just do it


    Bill Evans played a lot in 3/4 he does this all over, you know it when you hear it........
    he sometimes plays 4/4 right across 3/4 and instead of resolving notes he resolves the rhythm
    if this makes sense, and you kinda go hell thats was neat, but not really knowing what it was kinda thing


    Tilting...... In bars 2, 9, 29 & 30 of my image pic, this is 4 over 3 in bar 29 & 30 it is very complicated syncopated but easy to play,

    possibly why Ragman mentioned the backing, with a Real pianist who can play this is no problem,
    but a problem is if the backing (non adjustable) is playing syncopated chords it can throw things.

    4 over 3 is a beautiful rythm and piano should be just on one if at all, because it is a complex poly rthmy
    but thats how it sounds. Ragman if listening thats what it is, and thx for hearing that, i am working on
    that,


    I'm pretty sure I've seen 4 on 3 in a few charts - IIRC there's one in the Real Book? I am sure there is cant recall at mo.
    I'll have you know I make an excellent Daal.

    Anyway. I kind of see what you mean... I can see that you could get a bit of a crossed feel with the straight 16ths over the swung feel, so to speak. As I say it's not a rhythm I've played around with too much, but I think it would be a great one to loosen up my 3/4 phrasing a bit.

    In general I would work on subdivisions to get everything as accurate as possible before relaxing somewhat as the rhythm becomes more intuitive. I'd do this for pretty much anything. Otherwise, I might not actually be executing the rhythm correctly. But different people work in different ways.

    I'm not saying this in your case, but 'just feel it' can be an excuse for executing things inaccurately. My experience has been that swing comes from relaxed accuracy. Mere accuracy can be stiff and possibly rush, but mere relaxation can drag and be rhythmically formless.

    However you find helps you get to both, it's worth separating out the intuitive thing that happens in actual music and the highly exacting narrow practice you need to equip yourself with the tools to do it. I personally need to understand the rhythm before I execute it. Of course the aim is that both rhythms can be felt one over the other at the same time - there's not just one way to acheive this.

    (I'm talking about my own process here)

  41. #140

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    Tufnel's tune may have been sad and in Dm, but the song's working title was....


  42. #141

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    I'm sure I'm breaking all sorts of protocols by posting this; style-wise, sound-wise, recording-quality wise, but here goes. More funk than jazz, more jazz than rock, welcome to my weird musical brain. Also not sure if the file is attaching...
    Attached Files Attached Files

  43. #142

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    Heres one I've been working on for a while...pardon the extreme reverb

    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  44. #143

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    Quote Originally Posted by Rhythmisking View Post
    I'm sure I'm breaking all sorts of protocols by posting this; style-wise, sound-wise, recording-quality wise, but here goes. More funk than jazz, more jazz than rock, welcome to my weird musical brain. Also not sure if the file is attaching...


    Can you host on Sound cloud or do a YouTube thing? Folks are generally wary of downloading stuff here.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  45. #144

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    Quote Originally Posted by mr. beaumont View Post
    Can you host on Sound cloud or do a YouTube thing? Folks are generally wary of downloading stuff here.
    Right! Rookie move, sorry.

  46. #145

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    Maybe this is better?

    Egeria by Paul Strom | ReverbNation

  47. #146
    Quote Originally Posted by Rhythmisking View Post
    I'm sure I'm breaking all sorts of protocols by posting this; style-wise, sound-wise, recording-quality wise, but here goes.
    You're not doing any such thing. It's an open jazz forum and this thread is for your own compositions. Of course, if you don't want to mix with the riff-raff* there's always the SHOWCASE thread for world-class level jazz players... or even better than that!

  48. #147

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    Quote Originally Posted by ragman1 View Post
    You're not doing any such thing. It's an open jazz forum and this thread is for your own compositions. Of course, if you don't want to mix with the riff-raff* there's always the SHOWCASE thread for world-class level jazz players... or even better than that!
    The riff-raff are my tribe!

  49. #148
    Quote Originally Posted by mr. beaumont View Post
    Heres one I've been working on for a while...pardon the extreme reverb
    You are duly pardoned.

    Actually I really liked that. I wasn't sure at first then, as it went on, I began to enjoy it; it kind of floated along and took you with it. It's subtle, it may have repetitions but it wasn't repetitive. Clever - but I'd expect that from you anyway. So there.

    Btw, as we're here, I've been meaning to ask you if you'd have a go at Caravan sometime. I want to see what you make of it. I think it's tricky but you might make mincemeat of it, I don't know

  50. #149
    Quote Originally Posted by Rhythmisking View Post
    The riff-raff are my tribe!
    Tribal music is all about us, take my word :-)

  51. #150

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    I made a soundcloud page, hopefully this is easier...