A Quote by Tom Misch
To be honest, I don't have a particular recipe, but I normally start with the chord progression and then I build it from there. I listen to a lot of jazz, so the chords are really important to me.
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I've never used the word jamming. It's a matter of finding a great song and learning the chords, then slightly altering the vocal melody, and matching a classic chord progression with another chord progression.
I don't really have a favorite genre. I could listen to a rock song, a metal song, jazz, pop music, whatever. For me, whatever style it is, it always depends on the chord progression, the lyrics, and the melody used.
One chord is fine. Two chords are pushing it. Three chords and you're into jazz.
I grew up with a piano, and my aunt taught me chords. I played with bands in high school and I could do like, C chord, G chord, D chord; really simple, rhythm piano.
Jazz sometimes can be really complicated and inaccessible to people because they don't know what to start with. You can start with something that you love, but if you start with something that you hate, then it's like, 'You know what, I hate jazz.' It took me a lot of time to catch on to jazz, too.
The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.
I love jazz. So to me, there are two main types of jazz. There's dancing jazz, and then there's listening jazz. Listening jazz is like Thelonius Monk or John Coltrane, where it's a listening experience. So that's what I like; I like to make stuff that you listen to. It's not really meant to get you up; it's meant to get your mind focused. That's why you sit and listen to jazz. You dance to big band or whatever, but for the most part, you sit and listen to jazz. I think it comes from that aesthetic, trying to take that jazz listening experience and put it on hip-hop.
Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string. ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence.
I think there's something that feels so good about a 1-4-5 chord progression. It's a very standard chord progression, and it just feels good to the ears.
I was 16 when I came to New York. I had graduated to a tenor banjo in the school jazz band, and it was kind of boring - just chords, chords, chords. Then my father took me to a mountain music and dance festival in Asheville, North Carolina, and there I saw relatively uneducated people playing great music by ear.
It's really weird to be playing chords again. Haven't played chords for a long time. I realised I haven't played chord changes since OK Computer and stuff like that.
I kept on buying records and listening to them. Finally, I was able to hear the relationship between the jazz improvisers' solos and the underlying structure that it's based on, the chord progression. That was pretty easy to do in the swing era, y'know, when jazz was, like, pop music, you know. It had made the charts and everything like that.
Chord progression is progression of emotions; storytelling - taking one person from one mood to the next. We are doing the same thing within a DJ set.
I listen to all types of music. I listen to a lot of hip hop, but I also listen to pop and house music. I really, really like smooth jazz.
A lot of us have classical and jazz training, and it would be hard for us to work with a hip-hop artist who doesn't know a lot about the technical aspects of music. But when you listen to Wyclef's records, you hear bridges, chord changes and real structure. You can tell he has big ears.
The music has gotten thick. Guys give me tunes and they're full of chords. I can't play them...I think a movement in jazz is beginning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variation. There will be fewer chords but infinite possibilities as to what to do with them.
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