La Quête Du Jazz : Ze Official Topic

[gre]

Excellent, putain !

il y a un peu de branlette de temps en temps mais c'est pas grave

c'est écrit petit mais c'est écrit, va falloir se justifier maintenant

Je trouve pas du tout moi justement, c'est ce qui rend son jeu intéressant aussi. A quel moment par exemple ?

[leflaneurbreton]

j'aimerais bien te répondre mais j'attends un connecteur pour mon chargeur. l'ordi que j'utilise a un son tout pourri, je ne peux donc pas reprendre les écoutes.

de mon point de vue, la branlette c'est diluer son idée (le chorus) avec beaucoup de technique (monter de tierce par exemple) au détriment de la mélodie (l'idée du chorus). j'avoue que l'on peut diluer sans technique, mais là ça s'entend beaucoup trop.

dans les vidéos ci dessus, j'ai souvenir de passages où la vélocité prime sur le fond musical. Comme je l'ai écrit ce n'est pas grave chez ce musicien, puisqu'il s'agit souvent de petits passages.

c'est difficile de tenir une idée du début à la fin de son chorus (à moins d'être hyper fortiche et d'en exploiter plusieurs), on passe donc souvent par des phases branlette. C'est du remplissage, le temps que l'idée reprenne le dessus.

on voit ça souvent quand une idée simple devient tout à coup très compliquée, et qu'un profusion de notes noie ce que l'on pourrait entendre plus simplement. Ca peut permettre de relancer la machine également.

perso quand j'écoute du tribal teck, je me dis que les mecs poussent le bouchon un peu loin, même si je reste admiratif de leur travail et encore plus de leur technique.

[floppybass]

Yes Gre, j'étais tombé sur JHL y'a quelque temps, il déchire! Je suis en train de repiquer son chorus sur Isn't she lovely, y'a du taff!

[pastaoune]

pas " moisi" le garçon

http://www.youtube.com/watch?v=Cm3hlCfSP7I

[Guest MrTeeGoesSolo..But]

Jolie ...beau solo !!

Celui ci c'est pas ..aussi !!

http://youtu.be/FSqP2INfR4Q

Edited December 9, 2012 at 12:56 PM by MrTeeGoesSolo..But

[bunny]

message tres interressant ce matin lu sur mon fesse bouc de la part de Madame Carol Kaye
pour les non anglophones, si quelque'un ici pouvait prendre le temps de traduire, parce que cela vaut vraiment le coup

FINDING THE NON-CYCLIC CHORDS.

Hearing a tune today on the radio reminded me of this subject which is important when you're learning to walk well on standards and trying to find chord changes of tunes you've never played before.

First of all, the myth that if you learn the "melody" of any tune, then you can find the chord changes is wrong. Also is wrong is the myth that "you have to learn tune by tune to get the chord changes", wrong. Another wrong myth is that you "have to grow up with that music to know how to play it"....wrong. I grew up with Standards and still had to learn the necessary chord changes that went with those tunes...but it was easy as we ALL had the necessary chordal tone studies that go along with moving chord progressions to enlighten our ears so we could hear the chordal movements (mostly)....anyone at any age can learn this too...it's not the tunes you grow up with at all, but the right ways and material to teach with that will help you get there, that's all.

One biggie to help you know most of the chords of all the Standards (and this works for pop music today too, much of which uses the same chord progressions as standards).....is the cycle. Learn your cycle by practicing your triad on every cyclic chord and naming the chord-name (not the notes) OUT-LOUD - thus you start to associate those notes with the chord name on your neck, all over your neck. Most Standards chord changes are cyclic, so if you know your cycle, you can play about 75% of the chords of tunes you never played in your life.....you never have to learn tune-by-tune at all, that's a fallacy by teachers who dont' know how to teach this art of hearing chord changes.

Next, is practice your CHORDAL SCALE note arpeggios and still, be sure to name the *chord* out-loud (never the notes) and also learn the numbers of your chordal notes, triads are Root 3rd 5th (R35). When you read chords, you read the numbers like b5th, b9th, etc. - it's critical to know where these notes are, and easy to grasp when you practice the chordal scale. Many chordal progressions go in the easy chordal scale progression too (or you can invent this over the I chord)....

it's important that you start thinking in the immovable "do", the key signature of the numbers, the I chord, the VI7 chord, the ii (minors always have dots to them) chord, etc....music functions is in numbers and names of chords in chord charts, never in note-names, so get with it and learn your numbers and chord names and you're well on your way to getting it all.

That's fine for the Cycle chords, you'll automatically find these when you know your Cycle, the "holy grail" of chord movements, but.....in finding the chords when the natural chordal progressions *break* the cycle movement - that's what everyone needs help with and....there's several things that will help you with that.

Usually you start to hear about the most-common chord progression of going up 2 frets to repeat the ii V7 chords, that's easy to hear and even down 2 frets to repeat the ii V7 also.

Next common chordal progression is the movement from a I chord (or even a minor chord) down to its VI (or VI7) chord as in the very common turnaround progression I to the VI7....but sometimes, it is a minor down 3 frets to the VI7 chord too....

Sometimes the I chord to the VI7 chord is disguised as a bii dim (or #io) like to F to F#o for instance (any dim. is really a dim. 7th chord i.e. Gbo and Gbo7 are the same chord, dim. chords repeat every 3 frets).....biio has the same notes as VI7b9 - Gbo is the same chord as, has the same notes in it as D7b9.....tunes such as Liza, Makin' Whoopee, It Could Happen To You, Easy Livin', Bewitched, etc. all use this whether they name it right or not....the biio from the I chord is really the I chord to the VI7(b9) in improv and sometimes chord changes too etc.)....that's a simple progression once you start hearing it and using it, it's easy to hear and find.

Then we start to get into some difficulty..... there's tunes like the start of the bridge of I'll Remember April....that starts on the iv chord (a minor chord which really is a ii chord in moveble "do" - vs. the immovable "do" which is the key signature - so ii goes cyclic to the V7 etc. - all minors are ii chords in the movable "do" sense, all majors are I, all 7ths-9ths-11ths-13ths - dominant chords - are V7s in the moveable "do")....so the iv (key signature iv, the immovable "do" is the key signature) starts the bridge in which many tunes do: bridges of Stompin At The Savoy, What Is This Thing Called Love, Green Dolphin Street, etc. as well as I Remember April...

Then you have some real stumper tunes like Here's That Rainy Day....this a little tougher to hear but once you play it a time or two, you can actually hear when that sort of change occurs or starts to occur in other tunes too - it's easier then you think.

Unlike the Real Book (which sometimes, more often than not, has some wrong changes), the tune does start on the major chord of C (not Cm that is in the Real book)....if you hear any fine jazz musician play this, they always start on C (major), never Cm, traditionally the right chord is C (not Cm.....many young pianists never in the 1950s jazz scenes, had a thing to do with the Real Book, which sometimes doesn't use the correct changes because they'd "invent" chords that sounded good to "them" and so the wrong chords etc.)....

After the C chord, you'll usually hear a leadin-chordal movement quickly moving down from Cm to Bm finally to the Bbm which if course is your ii chord resolving to the V7 of Eb7 to Ab, the I chord moving along on the cycle to Db, your next cyclic chord ....then you hear it start to resolve again to the "key of C" again by doing a ii V7 I into C , Dm7b5 - 1 fret up from your Db chord you're on, to ii7b5 Dm to V7 G7 to resolve to the I chord C, the key signature, and the immovable "do" chord.....pretty soon you can hear those chromatic moving chords just fine, easy to ear and easy to count the frets to where they're going.

NOTE: about Dm7b5 - all m7b5 chords, you can always hear this "squeezed minor", a chord I call the "bedroom chord" because of its prolific use in romantic bedroom love scenes in our movie scores we had to record - it's used in a lot in bossa novas also.........some people who are ignorant try to liken it to a dim. chord, it has *nothing* to do with a dim. chord, it is a MINOR chord....ever since that college invented the "1/2-diminished" sign in the early 1980s, there's a complete mistake in some trying to think it's a "dim" chord, it's not.

Back to the tune Rainy Day - for the bridge you hear it do the typical iv (Fm) again the ii V7 I into the key of Eb (Fm to Bb7 to Eb), cycle to Ab and back to key of C where you start the process all over again. Sometimes when going back to the original key, you usually set it up by doing a ii V7 to the key signature.

Look at the tune Invitation, another "stumper" that some jazz musicians like to pull on newbies to see if they can really play or not....it's basically all cyclic! It has a couple strangeroonies in it for chord movements, but it's really cyclic (chromatic is cyclic with the b5 subs in it)....in one part, and then it resolves to the immovable "do" (the key signature Eb) by doing a ii V7 I into the Ebm which is minor instead of major, no problem....you hear it resolve there, doesn't matter if it's a major or minor.

When you learn the simplicity of Invitation it's absolutely mind-blowing how easy some of those "hard-to-find-chord-changes" tunes really are then....but you need this hands-on sort of practice to do that, and then you're fine for 99% of the Standards - DO NOT ANALYZE!! The people who try to analyze everything never get it and never can play at all....do the practice work of your chordal tone arpeggios, going through the chordal progressions and you start to automatically hearing changes, no problem. Music is not like building a ship....completely different, you have to train your ear to hear the progressions.

There are a very few tunes like Lush Life that yes, you will need to pay attention to the chart, but even in spots of those kinds of tunes, you can hear the easy progressions here and there too.

Chordal progressions of all kinds are featured in my Standards I and II tunes. Once you play through these changes, read the cues on each chart how to interpret the chart, and understand what is happening with cyclic progressions and then breaking the cycle going to the more common chordal progressions and how to find the "first chord" of the progression so you'll anticipate the chord changes very well, you're in like Flynn as they used to say.

Bassist players got it easy. They just hear the chords the pianist (or guitarist) is playing and they can follow very well. There's always clues played - lead-in notes or phrases that give away where the chordal progression is going (non-cyclic) to start another cyclic phrase. And no, playing the melody on charts will NEVER prepare you for that at all....the cues are NOT in the melody but in the chords being played by your fellow musicians...that's all you have to be up on....playing the melody through doesn't prepare you for jazz improv nor any ability to "hear chords" but working on the chordal education prepares you for it all.

Sometimes for pianists (and a few guitarists who play duo gigs), yes they need to know some of the melodies since they play alone or in duos all the time, and in combos, if they're wrong, everyone sounds wrong then but I've been able to lead a pianist with good ears to the right changes - good experienced bass players all can do that...usually everyone has ears out to there constantly if they're good players....and like bass players, all chord players like piano players and guitar players need to learn their cyclic chord changes, and then the chordal progressions that are very common. Ditto for the solo horns too.

Please go over again and again the chapter on this in the Jazz Improv Soloing DVD Course if you have this course, it's terrific and helps prepare you for this.

Usually with students, I go through anticipating non-cyclic chordal progressions with them only 1x (2x at most) through some different tunes for ear-training purposes (listening for the lead-in cues and chordal movements), the common 2-fret and 3-fret movements, and they then have the chordal progression knowledge to correctly sense where chordal progressions are leading to....this is something former rock and blues players need to work on to progress, rockers and blues players never had to do this kind of hearing/playing so they need work on it for awhile....

If you want to expand your playing and professionalism, this is what you have to do - it's not as hard as you would believe....and it's sure a lot of fun to discover.

If you're entirely new at all of this and don't know what a m7b5 chord is or know your diminished lines, get the Jazz Bass CD & Guide (and maybe even the Bass DVD Course (before Standards I and II)....just because you've been playing 20-20 or more years, doesn't mean you know all the necessary chordal theory you need to know to play Standards at all or to improve yourself in playing good music....you need the prep stuff first to make it easy for you as you learn...

And anyone can do it. We all have ears and hearing chord changes never stops, and you never stop learning all your life - your ears are constantly working whether you know it or not....it doesn't matter what age anyone is or what music they've played or life experiences they've been through, they can always learn this wonderful knowledge which gives them the musicianship they need for the long run.....some players play well into their 90s.

Having the easy chordal progressions in your head is the fun-goal to obtain so you can literally play anything, anticipate any chord changes with, see the Jazz Improv Soloing DVD Course for more on this. It's really easy once you start in the on self-help tutors and begin working on the chordal progression notes for walking, and interpreting chord charts - this all will make sense easily then, it takes a little practice time but not as much as you may think at first.
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Question from one person about this subject:

>>>>>>>>>Carol,
My problem is that I am very uncomfortable if I don't have the music right in front of me. That insecurity has impeded my ability to hear changes naturally. I will apply your tips in this thread in hopes it will help me hear and play the changes more confidently.
Thank you<<<<<<<<<<<<<<<<<<<<<<

Answer: Yes, occasionally you will find tunes (Lush Life is another one, Chelsea Sea etc.) that you will have to read, or at least remember where the starting chord is of the chromatic runs of chords each time. For the other 99% of the time, you can easily find the chord changes if you study the Jazz Improv Soloing DVD Course Chordal Progression section.

Anytime you change key, you usually use a ii to V7 to I in the new key, that's how it's done. And yes, as you wrote it, sometimes it's only 1 fret away from the next chord (as in All The Things You Are) for the next ii V7 I progression...once you experience that (your ears hear it), why practice in the Standards I and II is so critical for your ear training....you will always be able to hear it in tunes you're playing and can quickly jump to the right non-cyclic chordal progression...note that the ii V7 I is cyclic.

When learning, studying, practicing do NOT think "too much"........ You just need to do the grunt work of hands-on going over the progressions on your instrument, don't think, just do the practice and you'll notice a huge difference....that right brain (ear training with fingerings etc.) is the side that needs training now, and it can only be done by just plain ol' practice without "thinking" or analyzing.

If you notice on many (of not most) tunes in the Standards I and II, there are many parts that go chromatic in chord changes (movements like in jazz improv soloing too). Sophisticated Lady is an extreme case of chromatic chord changes....and good for you to play and get a handle on that chord progression, training your ear to hear them.

Groovin' High, Satin Doll, Autumn Leaves, Body & Soul etc. see chromatic parts...others like that too. Invitation, the tune that seasoned jazz musicians like to "test newbies" out on to see if they can play - has practically all cyclic chord changes (you remember that one out-of-place B chord, and the rest is ii V7 to I ending in the key it's written in - and you can hear even out-of-place chords if you work on your intervals -- see Elec. Bass Lines No. 3 book)...and even where it's chromatic, that's cyclic....the b5 always comes into play with chromatics being cyclic and vice-versa. Note: one thing that the great late George Gaffney, fine jazz pianist would do on the cyclic bridge of Invitation was to play chromatic jazz patterns for Dbm7 Gb7-9(Cm) Bm etc.....easy.....

Take a tune like One-Note Samba (key of Bb)....Dm to Db7 (or Dbm, depends on who you're playing with) to Cm7 to the dominant chord B7 (which is F7)....written that way, but you can form cyclic patterns too around the chromatics.....Dm to G7 to Cm to F7 -- it works because they're b5's of each other - all top jazz musicians know this common trick, easy to learn and do. Much of the time, you hear the early jazz innovating creating chromatic ii V7s up a 1/2 tone as a repeat too, to dress up an otherwise boring part of the song.

jazz is *always* in-flux......everyone is never just playing D7.....you can play D+, D7b5 D7b9 D7b5b9, Am7-stacked triads, Cmaj7 and so on and so on.....you need to re-study the Jazz Improv Soloing DVD Course which has specific studies in chordal progressions so you don't have to be afraid to study chordal progressions.....you just need to stop the reading and work on listening to and working on chordal progressions.

If you see check out the pics, you never saw a jazz group from the 1950s "reading music." Only the special arrangement groups did - "Dave Pell Octet - cool" sounds...which unfortunately wrongly typed LA as "cool sounds".....which was only a small part of the west coast jazz idiom ...believe me, and many from that era who are still alive like Plas Johnson will testify that the real west coasts sounds was HOT bebop jazz here, but of course not much is written about that...since most books are written by people in the east who weren't here at that time...

All the real innovative jazz musicians (who producers sought out to hire for the "new" rock and roll inventive record dates in the late 1950s)...for the most part, couldn't read music and you sure did it *all* by ear...sometimes you had no idea what the next tune would be, someone would start playing and boom, you were in the music -- it was ALL by ear.

It's time to bite the bullet and get that ear going -- do not analyze and stop the habit of being chained to reading chord charts....and get your ear going. You should review and definitely get back into the chordal note scale arpeggio-practicing (while saying the chord names out-loud) - sounds to me like you probably need more of this basic practice (also the C Chordal Scale 4-note-chordal patterns).
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PS. Most who have trouble trying to find chords by ear usually haven't practiced their whole neck, they don't know their neck and usually can't hear chords either if they've never studied and practiced their chordal note arpeggios....but also, interval studies are needed for practice. You need to work on the studies like in "Elec. Bass Lines No. 3" book and of course all the workouts of "Elec. Bass Lines No. 4", "Jazz Improv For Bass" book, and Pro's Jazz Phrases so you know your neck well.....this is also excellent ear-training.

Can you play the ii V7 I page of "Jazz Improv For Bass" up-tempo? Work on that too....it covers most of the neck. There's some etudes and interval practice pieces in Elec. Bass Lines No. 3 that will get you going with your ear too.

This is all illustrated on the DVD Course "Jazz Improv Soloing DVD Course" which is as great for bass players as it is for all other musicians. Music is in the bass clef too as well as treble, and I play a lot on the bass strings of the guitar, in the range of the bass for illustrative purposes.

PS. The real trick is to let go of practicing ANY note-scales, for they destroy your ear from ever hearing 1/2-tones (chromatic) changes in chords, the all-important whole-tone chordal movements, the changes of chords from major to minor, and you'll never hear even the simple cyclic chord changes (about 75% of all chords of Standards) too......the damage to ears is amazing if you stick with practicing something you used to: note-scales, for you can never develop your hearing then....

and really hearing these kinds of chord changes is easy, once you let go of any note-scale practice and quit trying to hang on to something that doesn't work, never worked, and is a phony system never used by real musicians for playing Standards, and Jazz, a system invented and "taught" by former rockers who never learned chordal progressions.

Note-scales are for classical musicians and there's very few kinds of real note-scales. The rest? Later invented and actually the "same note scale" just starting from different places filling pages of books by the pound to "sell to unsuspecting would-be musicians" and to use by johnny-come-lately former rock musicians turned teachers.

Our older working and experienced musician group have actually have actually laughed at the naivety of people believing those "note-scale phony studies" for years, but it's a shame so many have fallen for that garbage. Once you stop playing note-scales and forget that phony stuff, then you can really be a good musician and quicker than you know. Save yourself some money and wasted time, only go to teachers who know something about chordal notes, how chords function, and all the real things to learn in music, not the phony book stuff....

there's an increase of younger teachers who are learning how to teach chordal notes, chord movements, and good ear-training out there, you just have to look for them. Also, you can learn so much from my self-help tutors which teachers are using now too, see CATALOG "Books and CD Tutors"...as well as DVDs and CDs for courses, and Strings are in Accessories.

BASSIST PLAYERS, best to use in this order: Bass DVD Course, Jazz Bass CD & Guide, Elec. Bass Lines No. 3 book (for interval training), Pro's Jazz Phrases Bass book and CD, Standards I and II Bass, Jazz Improv For Bass book and CD, Jazz Improv Soloing DVD Course.

GUITAR PLAYERS & Other Solo Instruments: Jazz Guitar CD & Guide, Joe Pass Guitar Chords book, Pro's Jazz Phrases Treble Clef book and CD, Standards I and II Treble Clef, Jazz Improv Solo DVD Course, Joe Pass Guitar Style book and CD.

[plume]

Thanks Bunny, c'est très intéressant, même si mon niveau d'anglais (assez moyen) ne m'a pas permit de comprendre toutes les subtilités du propos

[gre]

moi déjà je comprend pas ça d'entrée de jeu : "FINDING THE NON-CYCLIC CHORDS."

du coup c'est mal barré.

Comment peut il exister des accords non cycliques ? c'est un non-sens.

Le sujet c'est l'analyse des entités extra-terrestres dans un morceau, c'est ça ?

[bunny]

non, je ne crois pas

d’après ce que j'ai compris, cela veut dire, ne pas bêtement jouer ce qui est ecrit

et réfléchir plutôt a comment l’interpréter

[floppybass]

Intéressant le pavé de Carol Kaye, comme toujours!
Dommage cependant:

- Qu'elle soit aussi catégorique
- Qu'elle essaye constamment de vendre ses bouquins
- Qu'elle tchatche autant pour expliquer des choses au final très simples...


Et Gre ce qu'elle appelle les cyclic chords, ce sont les accords qui suivent le cycle des quartes, ce que tu as dans 75% des standards (dans un II V I, dans autumn leaves, all the things you are, etc etc).

J'aime beaucoup ce qu'elle raconte dans la globalité, mais son ton me gonfle un peu, je la trouve bien prétentieuse... Je sais qu'elle a joué avec plein de beau monde, toussa, mais même...

[yoplait]

Awesome ce bout de texte! Ca reveille pour un dimanche matin .

[Pigno13]

Salut à tous !

Je viens de me remettre à la basse et j'enquille ces temps-ci pas mal de taf sur l'impro jazz.

Je débute avec "Autumn leaves", comme beaucoup.

Je recommande vivement l'utilisation d'un séquenceur type REAPER pour ce boulot ! Rien de mieux pour se rentrer les grilles dans la tête et bosser systématiquement en rythme !!!

Du coup, j'me suis procuré une transcription des accords de piano joués sur l'aebersold n° 54.

Et, autre bénéfice de taille, je bosse aussi les voicings pianistiques. J'améliore ainsi mes compétences en lecture et je ne reste plus bloqué sur mes quelques voicings guitaristiques. Vive les renversements et la visualisation harmonique !!!!

Mes oreilles me disent merci ! Je suis ravi et je progresse vraiment sur l'impro jazz ! Qu'elle est loin l'époque où je m'essayais plus ou moins à ce style sans ces merveilleux outils !!! A bon entendeur !

PS : l'écoute de quelques interprétations mémorables des "feuilles mortes" permet ensuite de se rentrer des idées dans la tête ! (Petrucciani - "conférence de presse" par exemple)

[gre]

est ce que quelqu'un saurait transcrire les principaux bop-scales à 8 et à 10 notes ?

et si possible avec juste au moins un exemple de ces bop-scales utilisés dans des thèmes.

[jaydee]

- ajoute la #5 à la gamme majeure ---> gamme à 8 degrés (c'est la gamme bop ou Majeur Harmonique)

- ajoute la 7 (7mineure) à la gamme majeure ---> 8 degrés (un côté Bluesy)

- ajoute la #9 ----> 8 degrés (Bluesy)

- ajoute la b9 ----> 8 degrés

- ajoute la #11 ----> 8 degrés (moderne sans la 4 ou Bluesy en chromatisme)

- après tu mixes tes ajouts ----> gamme à 9, 10, 11 et pourquoi pas 12 degrés !

...et même travail de recherche sur les autres modes !

[gre]

je pensais qu'il y avait un système avec des passages assez balisés selon le chord-scale de départ et qui n'en modifie pas le sens.

Parce que si je joue par exemple 6, b7, 7, 8 j'entend un accord 7 pas maj7.

Ou alors c'est une question de placement rythmique ?

[floppybass]

Salut Gre, oui la gamme bebop est liée intrinsèquement au rythme, elle consiste simplement à rajouter des notes de passage pour faire tomber les notes de l'accords sur les temps (en gras ci dessous). En gros les chromatismes se retrouvent sur les contretemps.

La gamme Bebop majeure "classique" est 1 2 3 4 5 b6 6 7 ( début de donna Lee, tu l'as en descente, en Ab)

Cependant, tu peux la "développer" en rajoutant des chromatismes, du moment qu'ils ne tombent pas sur les temps:

1 b2 2 b3 3 4 5 b6 6 7 1

c'est un peu sommaire comme explication, après le mieux c'est d'expérimenter, de voir ce qui marche ou pas

Tu as aussi la gamme Bebop dominante, qui marche très bien sur les accords 7:

1 2 3 4 5 6 b7 7 1

Niveau bouquins, tu as jerry bergonzi qui en parle, et surement plein d'autres!
Après le mieux reste de repiquer des bouts de chorus pour mieux comprendre comment les jazzmen se servent des chromatismes dans leur lignes

[gre]

Et oui c'est pour ça que c'est bien d'avoir des exemples comme donna lee pour illustrer.

Dans donna lee y en a d'autres, comme a la fin sur Fmin et C7.

Merci pour les infos. Faut que je pratique un peu cette histoire de rythme pour essayer d'entendre 2 choses différentes en jouant exactement les mêmes notes

[Fabinosto]

Le revoilou. Pas le printemps, JHL...

[plume]

ça phrase comme il faut

[gre]

génial merci fab, j'adore ce theme. Le pont est un enfer à jouer et à retenir

rhoo le chorus qu'il tombe y a des moments incroyables

il se drogue non ?

[plume]

Il se fait des injections d'EPO dans les doigts.

[Pigno13]

Impatient d'visionner ça ce soir (pas d'son au taf' ! )

[Fabinosto]

Ce type est vraiment bon ; c'est musical à souhait.

La dextérité au service de la zique.

Ce thème est "merdique à jouer".

En plus il passe les "trilles" comme on respire.

Il y a des perles dans sa chaîne, notamment en live.

[Fabinosto]

Un 3 temps live du même gus :

[Pigno13]

J'ai pas pu attendre, j'ai matté ça devant mon cassoulbar ce midi !

J'adore ! Pis le plan "je joue ce que j'entend" c'est le rêve de ma vie !!!

Vais m'remettre à chanter tout ce que je joue moi....