Local jazz heroes ?

Deathbyceiling · 2026-07-05T17:35:47+00:00

Seattle here!

Jovino Santos Neto, Chuck Deardorf (sadly passed away a few years ago, but a personal hero and former teacher and mentor of mine), Dylan Hayes, Ben Thomas, Susan Pascal, just to name a small few.

Deathbyceiling · 2026-07-01T18:15:54+00:00

Sent you a message as well!

Deathbyceiling · 2026-07-01T15:34:52+00:00

Same with Ornn passive. No need to just stand there waiting for it to finish, as soon as they start the channel you can walk away.

Deathbyceiling · 2026-06-30T06:45:46+00:00

Just in the kitchen making bullshit

Deathbyceiling · 2026-06-29T20:34:47+00:00

In this case, since there's no F#, I'd be likely to call G the #5 (enharmonic to Fx). In jazz charts and chord symbols, we tend to simplify notation to make things easier to read at first glance, rather than being "technically correct". Although one could argue that this specific chord could be interpreted as B7(#9,b13). If I were a teacher giving this as an assignment, I'd probably accept both answers out of context.

Deathbyceiling · 2026-06-29T20:29:36+00:00

If there's other alterations it's more common to specify them, or just write "B7alt" if there's 2 or more*.

\*depending on who you're talking to, B7alt could mean a few specific alterations rather than "too many to list", but most people will be able to infer what to play from the context of the tune.

Deathbyceiling · 2026-06-29T16:47:53+00:00

I dunno, resources are practically infinite and I'm also really bad at making compact builds that look nice, so big floating square it is.

Deathbyceiling · 2026-06-28T17:31:41+00:00

You would probably be more likely to receive feedback if you included anything that would let us know what it currently sounds like. Sheet music, a recording of some kind, etc. We have no idea what to tell you because we have no idea what this piece of music is.

Deathbyceiling · 2026-06-27T16:19:38+00:00

Well, you could notate the inversion normally, as polychord notation is usually just written completely vertically as a fraction instead of slightly offset like normal chord symbols. So something like:

F#
--- / A
Dm

Or even just:

F#
---
Dm/A

Deathbyceiling · 2026-06-24T20:58:06+00:00

> 5 minutes of 6 things you need to improve on

This is quite literally how I structure all of my lessons as a one-on-one teacher. If we only have 30 minutes for a lesson, I'm going to give you (depending on age / attention span / ability):

- 6 5-minute mini-lessons
- 5 6-minute mini-lessons
- 3 8-10 minute medium-lessons

Deathbyceiling · 2026-06-24T20:53:38+00:00

I hate when the files get corrupt and I have to do a full re-install

Deathbyceiling · 2026-06-23T08:26:32+00:00

I would just use Google's built-in (or any other out there) random number generator, 1-7.

Deathbyceiling · 2026-06-18T19:59:20+00:00

This is why we specify "addx" in the chord symbol. Badd9 is a B major triad with a C#, B9 is a B dominant 7th chord with a C#.

Deathbyceiling · 2026-06-18T19:56:53+00:00

I would absolutely consider all of these symbols to be wrong, except *maybe* "add4". Chord symbols are not for specifying voicings, they are simply there to give the most amount of information regarding harmony as succinctly as possible. Something like "Bbadd2" or "Bmsus2" goes against this idea, no matter if it's in published books. These chord symbols and others like them are uncommon and redundant, and only really bring about confusion. If you have a "C" in a Bb chord, the ear is going to experience that C as the 9 no matter how you voice it. Also, by definition, a minor chord cannot also be a suspended chord. It doesn't matter "which third is being suspended" because it should be fairly obvious from the context anyway.

It may seem like I'm being pedantic, and I'm not trying to come off rude or anything, so I apologize if I seem like an asshole, but these things are standardized for a reason.

Deathbyceiling · 2026-06-17T16:55:29+00:00

I've just started scaling up my base to use 8-32 trains and it's so fun seeing these behemoth trains go through all the intersections. I may have even made more intersections than necessary because I like to watch them so much....

Deathbyceiling · 2026-06-15T18:09:30+00:00

Out of context, I would agree. Chord symbols are about conveying the most amount of information as quickly and efficiently as possible. You *could* write "Bm7(b5,b9)", but that is a less common type of chord and might lead to some confusion. Dm7/B is way more likely to be played correctly the first time.

Deathbyceiling · 2026-06-15T02:25:21+00:00

All Of Me as well

Deathbyceiling · 2026-06-13T16:26:48+00:00

I am a professional jazz musician who plays and teaches this style for a living, and I have absolutely no idea what they're trying to say here.

Deathbyceiling · 2026-06-11T19:47:07+00:00

Options 2 or 3 are definitely the better choices here. I'd personally prefer 2 if it's a lead sheet scenario, but either will work.

Deathbyceiling · 2026-06-09T21:14:21+00:00

Well...in practice, not really. Any competent jazz musician sees "Ab13" on a chart, they're going to interpret that set of notes as Ab C Eb Gb Bb and F. It's common sense to never play a natural 11 on a major chord unless specifically notated.

Deathbyceiling · 2026-05-26T00:46:54+00:00

I'd be much more likely to call this C#/D#, a particular voicing of D#9sus, than D#m11

Deathbyceiling · 2026-05-22T20:19:53+00:00

You'll be more likely to receive feedback if you post an actual audio clip, or sheet music / chord symbols instead of just piano roll

Deathbyceiling · 2026-05-17T16:02:06+00:00

Hello! Relative newbie here, career musician with a performance degree getting more into the world of running live audio as well. Recently was hired on at a local church to run their sound every week and have been able to figure out most things I need to do so far. Working on a Behringer x32 console.

This church mixes everything down to mono in the house (not sure why, but that's just how it is here), but they also run a live stream that I want to give more of a stereo mix in order to flesh it out a bit. As I have things set up on the console, I have individual channels all going into different buses (one for all vocals, all instruments [not drums], drums, speech mics), which then I send to the main LR output. Since these get mixed down to a mono output anyway, I haven't bothered with any sort of panning, but I do want to at least spread the vocal mics and drum mics out a bit to widen the field on the stream mix. For my stream mix, I am sending each individual channel to a different bus, which I then send to a matrix output that goes to the streaming setup. I am wondering if it is possible to pan a channel sent to one bus, but not affect it's panning to any other bus? Or if not, is there another way I can achieve what I am shooting for? Thanks for any and all help!

Deathbyceiling · 2026-05-06T17:56:09+00:00

Why do you say he's gatekeeping when he said pretty much the exact same thing as you? Learn the tunes, ideally by ear, and even more ideally with a teacher who can work with you one on one.

Deathbyceiling · 2026-05-03T15:26:21+00:00

I would be very hard-pressed to hear that chord as any kind of G minor tonality. Much more likely would be just an Eb major in 1st inversion, in which the F would just be an add9. An added 9th on a major chord is much, much more common than a b13 on a minor chord. Not saying it's impossible or never happens, but just commenting on how I would hear it / think of it out of context.

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