what's the deal with monty alexander?  i don't think i ever hear about him in local gigs or anything.  does he rarely perform live?  i saw that he's going to appear next year at a port townsend workshop, but other than that, what does he do?
scot, i know you're familiar with him.  maybe you can tell me how often he performs.
There are 20 comments, leave a comment.
he's in norfolk next month.  
i'm on facebook and if you use ilike and pick some artists, you get updates as to when they perform.
if this a joke in reply to ryan's topic, i must admit, i laughed and credit you for putting your ass on the line for good humor.

if you are being serious, i tried it, and it does seem like a fresh new approach towards playing this song. i'll have to get serious and do some transposing in that particular style one of these days.
new on youtube. monty alexander at his peak live in 1976 at the montreaux jazz festival.
worth watching.
  
satin doll:

  
night mist blues
he gigs around for sure, he's in seattle once a year at least.  you just gotta keep your eyes open and visit his web site so find out his schedule.
If I'm not back in 24 hours, call the president.

Scot is available for skype jazz piano lessons (and google hangouts, phone call, etc...)
Use the contact link at the top of the page.
methinks art noel is not real.
he doesn't post a schedule on his website.  it just says to check your local entertainment listings.  i find that a little strange.  most artist pages have a schedule on there.

scot, are you going to the port townsend workshop next year?  looks like there will be a lot of monster players there!
if scot, as the webmaster, has the facility to verify ip adresses from the users of his forum, he will probably see that noel and antijv and stubhill and symsens are all the same person...
so, speaking of monty, he'll be at pt!! very cool - i haven't seen him for a number of years and he's fun.  looks like a great lineup for sure.
this thread is the biggest waste of electron's since grand theft auto.
it's a busy gig time of year, i wasn't able to go last year and it's looking like the same story this year.  i did get to the weekend concerts, though.

in what way will monty be at port townsend?  as a workshop teacher or a performer for the weekend?
If I'm not back in 24 hours, call the president.

Scot is available for skype jazz piano lessons (and google hangouts, phone call, etc...)
Use the contact link at the top of the page.
i agree, jmkarns!
from the looks of the website (https://www.centrum.org/jazz/) he'll be on the faculty but i can't believe he wouldn't be a headliner as well.  wait...no, it looks like he won't be running a section.  hmm, piano section is already full.  anyone know anything about auditing the workshops?
this is a serious music topic regardless of how it started and messages not related to music have been censored.
If I'm not back in 24 hours, call the president.

Scot is available for skype jazz piano lessons (and google hangouts, phone call, etc...)
Use the contact link at the top of the page.
scott, all that stuff on the website is for 2007.  they don't even have the 2008 info up there yet.  they haven't even opened registration, and they don't fill anything up until after they've listened to all the audition tapes in may.
that new website is a real mess.  i hate it.
i was following the other thread too...i checked out what i understood to be the type of chord structures being discussed and i'll probably check the above out on the piano as well.........(if anyone wants my take on those original voicings and how i see them functionally,i'll be glad to post something)...the main point being that along w/scot above i'm all for this forum being treated w/respect for the musical perspectives/insights of others and focusing on that rather than any of the other s--t.........
how are those auditions like?  my drummer and i were wondering what it's like, but there's not information on the website.  maybe someone here can fill me in:
how much does the workshop cost?
what are the audition requirements?
noel my friend what a noble fellow you are, although the name was a poor untasteful joke there was method to my madness.  to be honest when i first discovered these chords i thought that it would be impossible to play a whole tune with them, however, i have managed to change the chords to an entire tune using 'akbar chords' as they have been named.  i am currently working on the chord sheet to post on this site, hence i have not been near the interweb for some days.  

the original purpose of the chords was to use them as passing chords to another chord similar to a tritone substitution for example.  

the most important rule with this style i have developed is that you must free your mind from western harmony, the curse of moving music on is being stuck with the harmony that you are used to hearing, nothing is 'right' and nothing is 'wrong'.

if you are serious about using these chords then you need to free your mind of the harmony you are used to.  many people are laughing at us because they are stuck and can't get their heads around the 'strange' sounds they are playing with these new chords.  

i may have made a poor joke at the beginning but it did have an underlying seriousness to it, i myself felt it more appropriate to present these chords in the form of a joke so that people could have fun with it an treat it as a joke....  purely to free their minds so they could mess around and joke about.  clearly it back fired, but you noel are different, please let us build on this, i will get that chord chart up asap!!

ryan
i saw the mention of monty alexander for 2008 also, but now i can't find it on the website.  it's probably in one of those news blogs.
noel, my boy, at last!!  the chord progression is complete, the temple of greatness awaits!  we will finally have our new art form and allah will smile upon us.  

now about your previous post, do not worry!  it will be fine, we have to stay calm, we are the pioneers of a new genre, all those lazy clouts are doing it using scales, we are developing a whole new harmony, not scales of zueska and arabicano.

here is the following progression based on a night in tunisia

eb7 becomes (ill spell it out) -  eb, g, b, d, f, ab, db,  
dm7 becomes - d, f, a, csharp, e, gsharp, b

now the bridge

am7b5 becomes - a, csharp, eb, fsharp, gsharp
dalt becomes - d, e, fsharp, gsharp, asharp, ccharp, f, a c
gm7 becomes - g, bb, d, fsharp, a csharp, e

for the rest of the chords leave them the same so you can hear a diffrence, you can transpose all the 2 - 5's yourself if you are impatient.  

i am full to the brim with excitement, i cannot wait for your response.  i have a feeling inside that i can only describe as a feeling of burnt toast when it is at its most poignant.  you know what i mean im sure.  

the others laugh and scowl but we my friend have it in the bag of the bird, only charlie parker will know what we have accomplished.  

i had a dream where ray charles and stanley turrentine appeared before me.  they congratulated me on completing the task of the mother sprout and passed me the frozen tears of miles davis and the right testicle of jelly roll morton (don't ask!!!).  then they told me to continue with these discoveries and told me that there was only one thing stopping me from consuming all of the brussle sprouts...  i needed my friend...  art noel...  'art noel!' i cried, 'art thou real?!?!'  and then i woke up, checked ljp, and you my friend, you must be real because you had started this thread, and this is why i write here and now, as a homage to the final key to unlocking all of the brussle sprouts, enough to engulf the world in perilous music!  

many thanks to scot for allowing us to communicate using his sight, he shall be remembered for being the mediator for this new style to develop.

peace be with you great explorer, write back when you have news of you fruits and brussles after the christmas luncheon.  

many thanks for your striving forth

ryan
superboy, you can find all that info here:

https://www.centrum.org/jazz/jz-description.html

just click on the links for what you wanna know.  all info there is for 2007, but it won't change much.
by any chance are you and art members of the on strike writers union who have a lot of time on their hands ???? because this is playing out like some jihad comedy sitcom !!! ryan i asked you in my second post, and you chose to ignore it--

             i would be interested to know if you agree that naming a teddy bear mohammed is a crime ????  

merry christmas and may all your miseltoe be brussle sprouts
i'll keep my eyes open. the only way i'll go back as a student is if monty is on the faculty. that would be a dream come true :)
If I'm not back in 24 hours, call the president.

Scot is available for skype jazz piano lessons (and google hangouts, phone call, etc...)
Use the contact link at the top of the page.
sorry
i meant to say, this is playing out like some idiot jihad comedy sitcom !!!  

merry christmas ryan and art and happy new brassle sprouts !!!
cynbad, you sure you're on the right web site?  the one i tried to put in above (had a ")" in it) takes you to 2008 stuff.  https://www.centrum.org/jazz/

i don't think monty is faculty -- just a headliner.
notice
brassle instead of brussle. brassle refering to the brass section of a musical group. i have now created a new type of plant.the temple of greatness awaits!  we will finally have our new plant form and allah will smile upon us.
merry christmas ryan and art and happy new brassle sprouts !!!
um, yes, i'm on the right website.  the titles say 2008, but the content is for 2007.  they say that they are still working on their lineups and faculty, so below is the 2007 information.
i was there last year.  that's last year's faculty.  that's last year's mainstage lineup, remember?  and yes, piano was full, that's why i audited.
this is the new news blurb:
2008 jazz port townsend faculty nearly complete
the following jazz performers are confirmed to appear at jazz port townsend 2008! the festival will take place july 20-27, 2008, with intensive week-long workshops for jazz participants capped by mainstage and club shows the thursday-through-sunday weekend of july 24-27.

wycliffe gordon, trombone
eric alexander, tenor (pictured)
paquito dírivera, clarinet
monty alexander, piano
george cables, piano
benny green, piano
gary smulyan, sax
terell stafford, trumpet
lewis nash, drums
clarence acox, drums
bruce forman, guitar
chuck deardorf, bass
john clayton, bass
jeff clayton, sax

but if you follow the links i gave superboy, you will see the information from 2007.  the new stuff is not out there.  they haven't even opened registration yet.
i have watched with interest the conversations develop on this thread.  i am quite convinced that art noel is real, but i fear is being taken for a fool by ryan stubhill.  at one point i thought they might be the same person but i no longer think this.  i urge you, no plead with you, art, if you really value your reputation as a jazz musician, please listen to the voice of reason and step away from your fellow musician who is leading you up the garden path.  i feel it in my bones dear chap, call it just a hunch or intuition, but i cannot condone this type of behaviour, whether on or off a forum.  i am serious about music, serious about good ideas being shared, but to see this terrible charade being played out in front of my eyes is just too much.  please, i beg of you art, don't come back after christmas having eaten brassle sprouts, with or without their mother.  with very best wishes for christmas and in the hope, art, that you will see sense.
in other words, we don't know if monty is faculty yet.
but he might be.  many others on the above list are faculty only, not mainstage performers.
tottybyebye my friend, i think if you rearrange the letters of art noel, they spell...  not real!!!  i think you can see my concern about my dear friend noel being real, especially after the dreams, however, i still feel that he is serious and i am desperate to define this new style of jazz and claim the prize.  

also, i too am serious about music, probably more so than 90% of people on this site, as i am actually a very bored professional musician trying to spice up life in between shows!  :0)

never the less i am serious about helping noel because this guy has a point and i am here to prove that he is right!
most confusing...
who cares if he's real or not?  the musical topic at hand is real and that is all that has ever mattered in the long and sordid history of online forums from the days of stonehenge in the 70's to myspace in the new millennium.
If I'm not back in 24 hours, call the president.

Scot is available for skype jazz piano lessons (and google hangouts, phone call, etc...)
Use the contact link at the top of the page.
cynbad, you mentioned some time ago that you went to the jammey aebersold camp too. could you compare them? do you have a perferance?
i totally agree with you scot, i think that the chords that i have worked on actually sound quite interesting, try this voicing with the tune which rises to the c above middle c on 'a night in tunisia'.  

eb, g, b, d, f, db f ab c.

this is exactly the quality i am talking about, if you refer to my original post the whole point is to take major augmented 7th chords and place a the major 7th chord a tone below over the top, in this case it is - ebmajor augmented 7th with a db major 7 chord on top.

as you can see, this is no merry jest or jolly, i have in fact considered this many many many times during the dialogue on stage during a show...

yours in the faithfulness of allah, who is better than the mother goose of the brussels  

ryan
ah, cynbad, i forgot to ask how one goes about auditing the workshops.  i don't believe there's a way to contact them short of auditioning on the website.  do you have any suggestions?  

thanks,
scott
'also, i too am serious about music, probably more so than 90% of people on this site, as i am actually a very bored professional musician trying to spice up life in between shows!'
surly this means that the term 'akbar chords' are not true? i was looking forward to see the outcome of this, i was looking at the posts from the start, there must be an alternative to make these real?!
sdm, you can call the registration office for the workshop and ask if you can audit.  it's way early for that, though.  i think it's lizzy you would email or call.  as a pianist, i'm sure they'd be more than happy to let you audit, because they always fill up on piano for the combos.
dear noel, i am a big fan of anagrams so you will have to forgive me for attacking your name with such malice.  

i am happy you can forgive me for i request it from all sides of allah's greatness........ including the front near side.  

i am very proud to have someone who is prepared to take all the flack from people to get to the point of this style.  it is people like you... the survivors... who don't let criticism get them down, that give new things to the world.  they all laughed at christopher columbus, when he said the world was round.  they all laughed when edison recorded sound.  we will have the last laugh my friend when we become the children of this style.

now, i am hoping that people are starting to realize that this theory that i, myself... neigh... we! are developing is actually very intelligent.  think about it.  if we make rules for all common chords, e.g major, minor, half dim, dim, etc we will have a formulae that the world can apply.

so far, i have devised a solid rule for all dominant chords.  when i say solid, i mean that it has good foundations.  we need not change it in other words!

so..........

to create an akbar dominant chord you have to turn it into a major augmented 7th chord with the major 7th chord a tone below stacked on top.  

for example

take c7.  if we see this chord in a traditional chord progression you would play the notes c, e, g, bb.  some people may choose to spice things up by adding the 9th or even the 13th, some advanced players may take it into their own hands to alter it and sharpen the 9th and flat the 13th.  even some may flatten the 9th only just for a change from a boring chord.  nevertheless, most people would play it as they know it, c, e, g, bb.

applying our theory then would create a chord that spells out like this -  

c, e, gsharp, b, bb, d, f, ab.

the reason we can call this chord an akbar chord is because it is impossible to pigeon hole it into any other chord.  it is not altred, it is not augmented.  it is quite simply... an akbar chord.

well my friend what do you think?  please apply my theory and respond in haste, i await your words with excitement.

in yours, allah is greater than a friend in george benson.

ryan




p.s.  to miuaskinc, do not fear for being a bored pro between shows is exactly what drove me to this theory.  by the way i am convinced your name is an anagram but i can't work it out, or it could just be me getting carried away, the only reason i am unsure is because i haven't seen you on here before, but if you are real and not playing along, i welcome you to watch the proceedings.  

in and on the grapevine, allah told me your the follower of grapes and tomatoes

ryan
paul, i like both of them for different reasons.  right now, i think i prefer the aebersold and will probably go back next summer.

centrum (port townsend):  this one has gotten more demanding and is more oriented towards advanced, serious students and semi-pros.  the week is very much focused on your combo performance at the end of the week.  the groups rehearse pretty intensely, and do about a 20-minute performance at the end of the week.  what i also like at centrum is all the special topics that you can attend during theory time or in the evenings.  i've been to some great special topics like houston person on being a working musician, and dee daniels on producing your own cd.  

aebersold:  this one is very focused on teaching improvisation.  everything is focused on that.  theory classes are focused on improv and generally include playing.  combos are focused on learning improv and playing together.  the end-of-week performance is not a big deal - it's just a nice way to end the week, and each combo only gets to play about 5 minutes.  things i really like:  very supportive learning environment at all levels.  people of all ages and lots of middle-aged people.  everyone was friendly and supportive.  excellent supervision of minors.  it's held at a music school, so there are great facilities, practice rooms, labs, etc.  after your combo performance, your combo coach gives you a handwritten letter about what s/he feels your strengths are, how you've grown, what you should work on in the coming year -- this is a really nice touch.  probably the greatest thing about aebersold is the total immersion in jazz listening -- the faculty concerts are going on all the time -- at lunch, at dinner, and 3 hours in the evening.  the piano master classes could be improved.  and i wish there were more special topics or alternatives to advanced theory (david baker bebop).  

i'll go back to aebersold because i'm not such an advanced jazz player and i like the supportive, positive atmosphere.  i also like that you don't have to audition to get in.
noel let me know, i await with wet pants.
hmmm noel and semi toots seem to have similar fonts, could they be one?  i am very convinced that they are and noel your encouragement invites me to be even more enthusiastic!  thank you.

in allah the crime can't go unseen because he follows the goose fat.

ryan
push and hold the combi button followed by the combination 1 5 6 3 2 2.  

allah allows one to eat the fruit but not see if it is to be greater.

ryan
of course of course, i knew it, he is cursed.  you will only achieve a semi when confronted by such a small tool.  the larger it is the more you will grow.  the tools i speak of are of course playing wise to follow it.  

on a serious note, if you are ruining noels name for the sake of a cheap joke then it is unkind thing to do to such a noble player in the development.  they are not awful chords, they are unique and intelligent.  

as you know noel has gone to preach at his christmas service and will not be able to reply until he arrives.  

if this is for real try pressing and holding the combi button and pushing the defect button on the side of the casing.  then followed by the combination 1 5 6 3 2 2.  finally release the combi button and push and hold 1.
i must sleep, however i think if you follow the trail of ancient toad crumbs then to the roaches forum, at the back of it there should, mind i say should, be a lower court marshall.  follow it through and there should be his card.  take it and fly forth with it.  then lets get back to these chords, we are beginning to fly.

may the scent of a black tiger linen basket snake follow allah to the great doom of fireman sam.

ryan
noel

i forgive you, however you should be careful with your home pc machine device.  i hope that he wasn't too badly behaved and that you gave him a firm beating.  

back to the subject matter.  i believe that minor chords are the next thing that we need to work on.  i was listening to 'now muslim' and 'muslims greatest hits' (also known as 'hijab hurendas hippidus' and i noted that a lot of the hits were in minor keys.  when we are changing chords, i think that the minors have to have the most impact to get across the style.  

so the formula is as follows.

take a minor 6 chord and place a major chord a major 3rd above the root in 2nd inversion on top.

to make sense of this, let us take d minor.  turn d minor into a minor 6 chord - d, f, a, b - and then place a major triad a major 3rd above the root - in this case fsharp or better known as gb major - on the top, in second inversion.  so we get db, gb, bb.

so there we have it a solid rule for minor chords.  now again this cannot be put under and altered chord or any other type of chord due to the fact that it is entirely original.  

take heed one and all.  could we have some other comments from other forum goers to see what they think of these theory's and formula's?  while the harmony may sound alien the theory does originate from something original so perhaps you could comment for me on what you think.  and of course i look forward to hearing from noel.

in allah the wind only blows where there is a space in the canopy for edible fish and geese.  

ryan
noel my friend, this does not make sense.  do you mean things in a traditional jazz sense?  

in traditional jazz, the following is true

1.  major
2.  minor
3.  minor
4.  major
5.  dominant
6.  minor
7.  half dim

there is no 8 by the way, that is just 1 repeated.  

if you have got confused i understand, i also see that you comment on the 'major and minor' constructions i have come up with, i think what you mean is dominant chord structures and minor chord structures i have come up with.

please confirm if you are just confused.  

if you are confused you may have actually stumbled across something quite unique!  note that we could re-arrange the order of chord qualities to what you have come up with possibly by mistake, so your 1.  minor, 2.  major, 3.  major, etc...  could actually be the basis of our new theory.

as for my theory's they have to be right because they cannot be pigeon holed.  in other words - no one can say they are a b9 chord or a altered chord because they are totally unique.  you see i have considered all possibilities and you cannot count these chords as anything else other than akbar chords because they do not exist.  

hope that helps,

through allah may you be guided to the fire of potatoes and tom tom drums.

ryan
now noel this is exiting.  i do believe we are getting somewhere.  

in response to your question on where and why this theory applies.  let me ask you the question my friend, why does a simple c major triad have to have a c, e, g?  well because to make it c major it has to have a root, a major third and a perfect fifth, you might answer!  yes but why?!  because it is so!  yes but why must it comprise of this?!  ummm because ummm thats... ummm.  well there you have it, it is your western ears and western understanding that prevent you from purely accepting my theory.  the reason it is d minor 6 with a major triad a major 3rd above in second inversion is because that is what it is.  that is the theory, there is no explanation, in the same way that there is no explanation for why a major chord is a major chord and why it is constructed that way.

i hope this explains.  i think that your evening up of the genres is great, however, we must not be too drawn to western traditions.  be careful now, the magic may hurt us.

i have just had a go at reversing the traditional jazz findings and like you said it is magic and has made a very tri-ethnic sound.  i have a plan for renaming these constructions.

1.  hindjab
2.  durkensa
3.  durkensa
4.  hindjab
5.  toasist
6.  durkensa
7.  tinkywinky

however, i believe that there is more to be explored.  i believe there may be an 8th, 9th and 10th chords that we can construct - possibly even 32 keys are avaliable through this system.  write back and tell me of you enthusiasm.    

in allah, he fly's north and i fly to him on the grapes and bananas he provides to my sheath.

ryan
yes you are right we are getting further and further from western basics.  i think you are right to bring me back on track.  perhaps renaming some of the chords with lala and po may help.

back to the subject matter.  a new instrument may be too hard, perhaps mastering the tone wheel on modern keyboards is a possibility.  or maybe we could program a modern synth to allow for these new notes.

i believe your second option is the answer!  we discredit the octave and push notes up.  they keys are to be penned yet but i can feel and the math does calculate that it is to be 32 keys.  

i am currently working on a new chord for the common major chord.  however i have come across a problem.  do you think we should allow for a minor scale over a major chord?  i shall be awake for long to come so please write back until you no longer can.  i wish we had a form of instant messaging!
no, no, no, no!  we must keep this public, if the public cannot see the developments then they won't believe us when we present it as an idiom.

in arajipussystan it is now 8.89pm, (we have a different time scale).  now back to the truth and reasoning that is akbar jazz.

so it is settled!  we discount the octave and get on with expanding things out and up.  the piano is the only instrument where we cannot get these new notes, other than the tone wheel we are stuffed.  all saxes, trumpets, double bass, guitar etc can play every note in between common scales so we will have to recall all pianos in the world, right down to ones in basements of dead peoples houses, and fit them with some sort of tone wheel, but we will cross that bridge when we come to it.

i think that we need to keep the ethnic scale and preserve the flattened third.  then we will have something common and regular with this style.  

now for major chords...

i have just this second come up with the alternative...

to create an akbar major, we do the following - take c major.  now to turn this into an akabarian chord we do this - take a c sus chord and add an augmented major 7th chord a tone below to the top in 3rd inversion.  so to spell it out...

c major becomes - c, f, g, a, bb, d, fsharp.

so there we have it!!  now it gets very exiting.  lets take a traditional 2, 5, 1 chord sequence and replace it with akbar theory.

please write back and let me know if you understand so far as things are about to get very complicated!  

in allah the cuffs of his jacket get caught in the car door, but which one?  the bentley or the ford?

ryan
the text alignment didn't seem to work, im sure you can still read it though...
noel... you know what...  perfect!  i think that if we use rhombicuboctahedron-ave we can indeed expand to the 32 keys necessary for akbar jazz.  

i think that the term akbar is too joking, and foolish, i think we need a new name for it.  just as you came up with the rhombicuboctahedron-ave we must come up with proper term for this style.  while jihadibop may have been a poor joke aimed for fun, i think we have entered a phase where we need a true name for this great style.  

we come up with 3 names each and then maybe put two of them together to create one.

come up with them asap!  

i will too.

in allah the crater is only 8 inches from the diameter of ethos.

ryan
noel you hit it!  desert jazz!  

however here are my suggestions

coon bop

scalywag bop

sand-nigg-jazz

however i think if we expand on desert jazz we may be on to something,

allah allows us to live and eat fruit and cats.

ryan
dazattibop it is!  i must now sleep, and think over the name and theory.  dazattibop is only a provisional name and we must be careful.  until morrow my friend noel.  have a good evening.  i shall return soon...  

in allah his prostate is aroused by playing poker on wednesday nights

ryan
so to the next day in our quest for this new style.

i think we should go with your original name 'desert jazz'.  this is because it is a more formal name than the dazattibop.  also we can shorten desert jazz to 'dj'.

onwards...

so we now know that the rhombicuboctahedron-ave is for keys that go above z from middle a.  now to fill in the keys and their signatures.  but before that we must discuss the half dim chord.  i have been thinking about this over night, and i think i have come up with a solution.

take a bm7b5 chords and turn it into a dj chord.  

take the notes, b, d, eb, f and place gb, bb, eb, and g.

i cannot explain the theory other than it is so.  it has no relevance to modern jazz.  i cannot say 'take a major triad and place a minor on top' because it is so unique which is why dj is so incredible.

you do, im sure, understand that this means we can complete the first 7 notes made into chords.  

so listen up!  take heed and listen!  middle c now becomes middle a.

the next thing that we need to do is come up with scales, all 32 of them.  the only way we can do this is by using a tone wheel and after we recall all pianos in the world everyone will be able to use them.  this theory may be hard to understand but i doest work.  

i am actually over christmas eve and christmas day going to put together a tune demonstrating the use and effectiveness of dj (we do not celebrate christmas so i have plenty of time, also, all of my family are dead).

we are one step away from greatness and we will be the best!  hoooraahhh!!

in allah the hands of time allow people to follow him through the bank of omaris

ryan
i forgot to add that we can keep the western influence of jazz as a basic of dj.  

if we keep the swing style of jazz, then no matter what we do to the chords and scales, rhythmically it will always resemble traditional jazz, and that way we cannot go wrong!  it means that traditional jazz will always be present and recognized!!!

in allah we are one, like a beetle in love with an giraffe.

ryan
what ho noel!

i think that the idea of having more rhombicuboctahedron-ave on the piano is a swell idea, and fully back it, so it is decided that we get rid of flats and sharps (i found the tiresome and useless anyway) and number every note, from middle a upwards and downwards.  so we can label all notes up to the traditional note db that now becomes z, then the traditional d note becomes a rhombicuboctahedron-ave +1, and the traditional note eb now becomes b rhombicuboctahedron-ave+1 and so on until all notes that exist are covered.  

now the next question is what do we call the notes below middle a?  do we go backwards and have it as z rhombicuboctahedron-ave -1, then y rhombicuboctahedron-ave -1, etc...

or

do we start with b rhombicuboctahedron-ave -1, c rhombicuboctahedron-ave -1?  

do you see what im getting at?  

write back if you are confused, if you are not which is the best decision?  

in allah strike forth with ample power and the lights will be turned off in the bathroom and cellar.

ryan
yes of course, it makes sense the rhombicuboctahedron-ave -1 etc is to be that indeed.

i have an outline and a plan or 'to-do' list.  

1.  write out the 32 scales.
2.  recall all the pianos in the world.
3.  write a tune.

so another problem now arises.  if we are to get rid or sharps and flats, how do we write this as music?  i think we may need to re-write music as we know it.  so...

4.  re-write traditional music to fit in with desert jazz.

now we are really cementing this stuff.  i think that we need to write a tune and get it working.  

i will very soon re-write all my chords to fit in with dj standard notation, (e.g a, h, s, t, or whatever the chord is made up of.  

i am hoping that someone else will respond and comment on these developments.  when we have confirmed everything, what do you say keep this thread for development, and start a new one, so people will look at it?  

i think that we really are getting somewhere.  i think that as each day passes we get closer and closer to the truth of desert jazz.  

what do you think of the list?

in allah we are unlike any other because we follow the way of the rat and the way of the worm.

ryan
yes one big stave is the answer!  by the way, if you go to system preferences on your macbook pro you can change it so that you can scroll down with 2 fingers!!  

anyway, i think that once we have a tune written out and played we will be able to go to the public with a solid idea that people can catch onto.  i hope that you are working on this new stave now and will have it uploaded tonight?  i really hope so, but it isn't a bother if not.  

as you know i am away at the moment and have no access to my recording studio, but i will when i get back play a tune in and upload it.  i am hoping that by boxing day we will be complete, your new stave and the music will be as one.  

the next phase is to come out with a scale.  do we name it simply 'a dj major', or do we come up with a different name?  i am inclined to come up with 32 separate names for these scales, otherwise we will com across a problem.  when we get to 'a rhombicuboctahedron-ave +1 dj major'.  do you se my dilemma?  

i hope that we can come up with sufficient memorable names.  we also need to come up with names for the different modes.  also how many notes are there to be in a scale?  if there are 12 keys and each has 7 notes, then the ratio if we have 32 keys would be 32 keys with each containing 18 notes.  that in turn would then mean naming 18 modes, and then we would be away!  

as you can see this is all very simple stuff.  we just need to get it down and get on with it.  write back asap, i am ejaculating with excitement.  

in allah his insides are made of leather and the back part is made of solid carbon-fiber, and we are made of spoons.

ryan
indeed it was your font that gave away the computer i thought you were using, most people who use macbook pro's get that font as default on this site, however, i do know that some pc's do also default to that.

now i am very exited about this stave you are working on!  as i expressed earlier, i actually ejaculated with excitement, only a small amount but nevertheless i did!  i hope for my own health that the attach function does work otherwise you may have to email it to me!

if you wish to find where i am i can send you a link to where i am but we must save that for another day.  arajipussystan is the former republic of dirtycoonstan.

i think that soon we will be ready to unveil 'a dj major' very soon, i think it will comprise of ethnic backing rather than the traditional tone tone semitone system.  its rather dated anyway.  

do you think it should be named 'a dj major' or 32 original names?!

in allah the blue color of the rainbow comes from above us.

ryan
well not to worry the place is a baron land anyway so there is not much to see since the skinheads came to power!!

i think dj major is a suitable name for the moment, it does worry me when we go over 26 that it may be difficult to write out 'a rhombicuboctahedron-ave +1 dj major', but then again gb major has 6 flats and thats just crazy talk.

3 names suffice to say the reasoning for the clef,

1.  coon clef
2.  dombastian clef
3.  hiddasdianniggeroclefium clef.

i personally think that the hiddasdianniggeroclefium clef suits the style of desert jazz.

in allah we make sure we are on time otherwise we are late like the sun on a hot date.

ryan
hmmm you could email me if you were desperate, at gregsymsen@gmail.com

what do you think of the names?

in allah we will be asleep until the morn.

ryan
noel that is fudging fantastic!!!!!   we must upload this asap it is perfect!!!

scot help!!!!

in allah the hibbas-dombastian clef is true like noel himself,

ryan
yes, perhaps we can do that in some way.  it would be good, i may know of someone who can help i will update you.  

i think that what you have put is fantastic and the beginnings of greatness.  perhaps we could set up a facebook page or group that is dedicated to desert jazz, what do you think?

in allah, im running out of these sayings.

ryan
yes of course!!!  if i keep key a you have b and i email the duo intelligent access codes then we are sorted.  would you prefer to correspond about the facebook access over email?  do let me know, it will be quicker especially as we are both using gmail as it updates your inbox every 30 seconds i do so believe!

let me know.  who do you want to set up the facebook page?  would you like to do it as you seem to have a better handle of computer interweb devices.  it is  your choice however.

in allah, the moon rises up like a monster in the deep lake of your mothers heart whilst eating a banana tree.

ryan
sigh, i guess there's no way this topic could stay serious, eh?  too bad because for a while this thread had some merit.
If I'm not back in 24 hours, call the president.

Scot is available for skype jazz piano lessons (and google hangouts, phone call, etc...)
Use the contact link at the top of the page.
now now scot, let us judge this thread once we have produced something from it.  i am currently half way through a tune using this theory, and so far i reckon that it sounds okay...  

yes its a different sound, however once you get past the new sound i think that this style has a bit of meat to it.  

which bits do you think made sense, please please please give me some feedback on which bits made sense?!  i really need input, otherwise, as you can see, i go off on one.  which bits made sense to you?  id really appreciate it if you could let me know!

thanks

ryan
quite, you will be so impressed with this scot that you interweb sight has played host to this new style of jazz.  the clef is incredible.  we will be uploading a 'mespase' link very soon!

ryan
this will all be officially unveiled in a separate post when we have a tune up to demonstrate the theory!  i hope you are all exited!  

in allah we are all to be beholders of the above laws.

ryan
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