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Showing results for tags 'jazz'.
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Hello everyone, I'm Zhang Wenhao, a singer-songwriter from China. Here I'd like to share with you a laid-back and sultry retro jazz dance song I composed, titled "The Night Is Tantalizing". It tells the story of a couple dancing closely in the dance floor. Welcome to listen. 大家好，我是来自中国的创作歌手张文灏。在这里和大家分享一首我创作的慵懒、暧昧的复古爵士舞曲《夜色撩人》，讲述一对恋人在舞池中相拥着起舞的故事，欢迎大家收听。
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This is an arrangement I did for fun a while back. I added in some secondary minor dominant ninths from the original chord progression to add some color and changed the meter to 6/8. It's based on four-part choral writing with a lot of chromaticism. I used cubase to improve the sound quality from the earlier version on my channel. Critique is welcome! -
Hello everyone! I am studying jazz piano and today I composed a blues theme and arranged it for big band (actually only for rhythm section and saxophones at the moment). I just did it as a little exercise. I am planning to focus on piano playing for some time but I have found that applying the ideas and concepts I learn for composing and arranging helps me improve faster both in my playing and composition skills. For this arrangement I used the knowledge I recently acquired for piano voicings, five voice jazz harmonization, and bass walking bass. All voicings and harmonization are quite basic and I am also sure there must be many mistakes :S. I have not learn anything about drums yet so the drums were just copied big band scores I found online, so I do not know yet what the drum is doing. I might use this theme (or some others I might compose) for slowly practicing Big Band arranging while I learn piano so this is only an exercise that I might keep on improving on. It is my first time composing and arranging jazz so any feedback for the theme or the arrangement is more than welcome. Thank you nd hope you like it! -
When a few long months ago I started to review music from its medieval beginnings, I realized how strongly the later styles are related to the preceding ones. I also realized that to half-master a style it is ridiculous to look at a few pieces and try to imitate. The background in any period of music is immense. So I went through baroque, galant, romanticism (from which I'm still getting a thousand things). And I arrived at “jazz”. It is a confusing corpus. On the one hand it is based (in great part) on tonal and functional harmony, on the other hand it is out of control. What I knew about jazz, other than listening to it, was a quite small part of what it is, mostly because I didn't have anything structured. I'll never be a jazz musician, but my idea is to absorb what's useful to me in writing music. I think that to move in this field you have to: 1. Master classical harmony. 2. Voicings. Essential, the voices jumping back and forth without order is chaotic, apart from the fact that different arrangements of the voices transmit different things. 3. Control of the chordal extensions, the fifth is relegated to semi-oblivion. 4. At a more advanced level: chords by superposition of triads, polychords...., but all this with its logic and resolutions. And to be a little brave experimenting with all that and more. In this little piece what I wanted was to incorporate something classical as well, so it's based on an arpeggio. This one is made up of: Fundamental, Fifth, Ninth, Third and Seventh (natural or flat depending on the chord). That is the basis of the whole composition. I think it sounds classical because of the arpeggio, but incorporating ninth and seventh systematically takes it to another point. The melody emphasizes other notes which are the tensions, third and seventh. And take advantage of the alternative resolutions of the dominants to modulate. Well, it is an exercise.
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I am back to Fusion Jazz as I was composing some years ago. Those who know me will recognize the excess in every way such as many theme changes, full hands piano chords, and over-orchestration but what can I do. This is me. I could probably have done 4 different songs with those themes and ensure I would not need more than 10 fingers to play the piano. Moreover, the 110 tracks of the orchestral version is telling me that I should have stop adding parts earlier. Nevertheless, you are the judge. You will like one version more than the other and tell me if I went too far, or not enough, who knows. Cheers Music and Production: Syrel Photography: Protect-Yourself Magazine Cover (1982) by Syrel The Quartet Version: https://soundcloud.com/user-461764443/summer-is-over-quartet-version?si=3e068cdb38b64bc6acfe8473097bfae7 • Piano (with 3 hands) • Upright Bass • Drums • Percussions The Orchestral Version: https://soundcloud.com/user-461764443/summer-is-over-orchestral-version?in=user-461764443/sets/summer-is-over-which-version • Quartet + • More Percussions • Full Symphonic Orchestra • Choir
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Spring is back at last This is a song inspired by the snow melting into little droplets and streaming into the pond where the birds are singing and swimming now that spring is back again. A song as if I was Keith Jarrett playing piano accompanied by a dream team made of Charles Mingus at the bass, Jack DeJohnette at the drums, Alex Acuña at the percussions, Jan Garbarek at the soprano sax and Miles Davis at the trumpet. Everybody has the right to dream isn’t it? This is the second song of the future album "The Five Seasons". The first song in two versions was soundcloud.com/user-461764443/sets/summer-is-over-which-version Music & Production: Syrel Photography: Syrel (1993)
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Hello guys, long time no see. I have been quite busy and I struggled a lot with this composition, but it is finally over and I came here to share it with all you. ^^ I hope you don't mind me copying the video descrition, I'm to tired to do a custom descrition here. This piece took so long to compose, around 45 hours. The main reason for that was that I got a mental block with it and I couldn't tie two sections of the work. I'm thankful to Carlos Barbé for enlightening me and making realize a couple of key things that I needed to sort out in order to do some progress. This is the last composition I will do for my "Dream Fantasies" set. After some consideration I decided to let the performer decide in what order to play the 3 pieces. I wanted to offer some freedom and let different musicians decide how they understood the whole thing. The piece is filled with lots of references to Nostalgia and A Sleepy Apology, so it can work as a nexus or a summary. This piece in particular is quite abstract, but its main theme is time. What it really means... Unfortunately I couldn't get a better performance because I finished this piece yesterday (31/01/2022-08/04/2022) and the most technically challenging fragment was the last thing I did. So I had vitually no time to properly practice the thing and also the piano where I played is super unbalanced (sometimes you play a key and it doesn't make a sound and in other instances it sounds too loud). But I think at least I got the right mood I had in mind (even though I calculated the piece should have a duriation of around 5' 40", so I played the slow section way too slow, sorry about that haha). Hopefully I will be able to record in my own piano in the near future. Oh, and I played this while having some kind of injury in my feft hand index finger, so yeah haha. And my hand hurted a bit after the loud section with 4ths, I don't know what I'm doing wrong to get injuries so easily. Thank you to everyone who supported me and showed interest. See you soon. 🙂 Also if anyone wants the score send me an email to ivanmusic1886@gmail.com . Although I'm still doing some modifications and even this recording has a detail that I changed in the score (not a big deal tho). Link:- 8 replies
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- impressionism
- jazz
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>>> https://soundcloud.com/user-54415704/lean-on-me >>> https://www.youtube.com/watch?v=P1dBVigVQ7M Chorus: Slightly caught up in those dreams that you never thought I would be getting lost in, I knew you've been there Margarita, one of my favorite cocktails in the morning, yeah I'm still a little bit dizzy Verse1: How have you been, a true greeting from the sincere heart, which you might've ever seen All the memories start to come out like snowflakes, remember telling each other stories Pre-chorus: Just lean on me, whenever you got into trouble, I'm always there for you Just lean on me, there ain't no doubt, no diggity, since that's what friends supposed to be Chorus: Slightly caught up in those dreams that you never thought I would be getting lost in, I knew you've been there Margarita, one of my favorite cocktails in the morning, yeah I'm still a little bit dizzy Verse1: I'll be awake, so you can count on me, and fight for every dream that we used to believe Don't be afraid, no need to turn around like you wanna escape (from) being something you don't wanna be Pre-chorus: Just lean on me, whenever you got into trouble, I'm always there for you Just lean on me, there ain't no doubt, no diggity, since that's what friends supposed to be Chorus: Slightly caught up in those dreams that you never thought I would be getting lost in, I knew you've been there Margarita, one of my favorite cocktails in the morning, yeah I'm still a little bit dizzy
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I already posted this piece a few months ago, but I did it in a post where I shared most of my piano pieces. Also I got a better digital audio and I decided to animate it. So this is the result, I hope you enjoy it. 🙂 Also if you want to know more check the description of the video.
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Here the link to the albums: Sinfonia di Perle Music Power Musica Pianistica I hope you enjoy.
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This is the result of an art trade (or collab) I did with Michellle Walker (an artist who draws). The point of the piece is to describe some kind of mysterious and nostalgic atmosphere. (I have spent more time in this piece than what I'm willing to admit.) This piece is a bit experimental from a formal point of view. The idea was to set all the main motifs of the whole piece in very few measures (basically the introduction) and then develope them in some kind of improvisational style. So basically the consistency of the work comes from the constant use of these little elements and the aesthetic of the whole piece. I also make use of recurrent motifs you can find in other works by me, like the one/s you can see between measure 2 and 3. (I hope I'm not repeating myself too much haha.) The first motif can be seen in my Memories piece and the other one is based in the same intervals as the main theme in "Gwyn, Lord of Cinder." And interestingly combining both creates some kind of mutated version of the first theme in the 3rd movement of Brahms' 3rd symphony. I got a lot of inspiration from Scriabin and you can see his mystic chord in some occasions. (At least the main harmony of the chord.) The idea was to create some kind of impressionistic piece with Chopinesque and jazz hues. And I also used a progression in measure 15 that pretty much comes from a madrigal by Gesualdo ("Moro lasso"). The best part of the piece is probably around measures 21-24. (In my opinion.) That climax and the sweet chords that descend are inspired in Debussy. Other inspirations are Ravel, Brahms and jazz in general. By the way, this is probably my best looking piano score I have ever done, and I'm quite proud about that. Anyways, I hope you will enjoy it and I'm open to criticism and feedback.
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This is an incomplete piece I have composed. It is my first attempt of trying to compose jazz for piano. I hope you give me your opinion as well as advice on how to learn more about jazz piano.
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Hello all, Here is my latest piece. It's a jazz piece, and the first thing a have written in that genre (besides 12-bar blues melodies). It's in a rough ABAB form, with melodies on the tenor sax and muted trombone. I heard the muted trombone being used to carry a jazz melody in a concert, and I love the sound. On the second B section, the tenor sax joins the trombone with a countermelody. Apologies for the trombone patch - out of the soundfonts I have on Musescore, there is no muted trombone. We can make do with a muted trumpet! (If anyone knows of any free soundfonts that have this, then please share them below!) I hope you enjoy this piece.
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A little jazz piece... Hope you like it. (Trumpet in concert pitch).
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Hi all! So, another little arrangement of mine. I have written this for my quartet. And, I found it quite challenging to get the dissonance I wanted while really only having three non-melody voices to work with. I sort of went the amoeba route, where I had close harmony surrounding the melody. This is found in barbershop music, and there is some influence there. However, I tend to take things further than a barbershop quartet would allow, which I'm super chill with. Pay no heed to the difficulty of the music, as the people singing this are true musical paragons. It is probably one of the harder arrangements of this piece out there. I'm looking specifically for comments on musical moments that stick out to you. Things that you think may not be effective or fit in the narrative of the piece. Please also look out for spots where you think there should be courtesy accidentals. I put a lot in, but I suspect there are more I'm missing. Thanks in advance for your thoughts. 🙂
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I composed a head and made a basic arrangement for the first play-through of the head. Here I did put in some written parts for piano and bass, though that was primarily so that I could hear what the trumpet and saxes were doing in something resembling the context in which it would be played. I'm mainly wondering how difficult this is for the saxes (are all those off-beat, short notes doable) and whether this is doable for a high school jazz ensemble. Additionally, I was wondering what you think of my harmonization and the melody and what others might have done differently. I have three attachments. #104.pdf is the chart, #104.mp3 is the audio with the rhythm section, and #104_2.mp3 is the audio without the rhythm section.
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https://soundcloud.com/user859741024/aesthetic-night Recording on SoundCloud an alto saxophone solo with wind band
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This is my version of this wonderful classic. Chord notation is omitted, it would surely be controversial 😁 We've only just begun.mp3We've only just begun.pdf
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Composer - Veljko Nenadić Composition is mix classic, jazz and serbian traditional music. Performer: Neda Nikolic -- Serbian flute, Duduk Veljko Nenadic - Piano July 29th 2018, Festival "STAZA" Monastery - Bogostica, Serbia.
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A filmic composition that uses both classical and jazz motifs.
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Contrast.mp3
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Hello everyone; "Feeling Free" is my first composition. It's an original piece that depicts our desire for a carefree attitude in our daily life only to be faced with daily struggles that bring us down; however, free-spiritedness will prevail. I tried to capture this struggle in this Jazzy – Swing-esque Composition. I hope you will enjoy listening to it and looking forward to hear what you think of it. https://www.youtube.com/watch?v=9oFtIc8Yfpc
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Composition is mix jazz and Serbian traditional music Composer - Veljko Nenadic Serbian flute - Neda Nikolic Piano - Veljko Nenadic
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This is the first time in a while that I've written something in swing rhythm specifically, but it seemed to call for it. It turned out to be a combo of contemporary/classical/jazz — I don't think there's a good label for it. I did use sacred geometry in this piece, which I'm doing all the time now, and seems to be working our pretty well. I'm open to any feedback or thoughts you have.
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The classic tune 'Chelsea Bridge' on the piano with electronics.
