How to Make Jazz Music in 2 Hours

This article is a collaborative effort, crafted and edited by a team of dedicated professionals.

Contributors: Andranick Tanguiane, Fred Lerdahl,


How to Make Jazz Music in 2 Hours – This is a guide on how to make jazz music in 2 hours. It includes tips on what instruments to use, what type of music to play, and how to practice.


Jazz is a music genre that originated in the African-American communities of the United States in the late 19th and early 20th centuries. It is characterized by blue notes, syncopation, swing, call and response, polyrhythm s, and improvisation. Jazz originated in New Orleans and was then taken to Chicago, where it became a major part of the city’s music scene. Jazz has since spread around the world and is now one of the most popular genres of music.

What is Jazz?

Jazz is a style of music that originated in the African-American communities in the southern United States in the late 19th and early 20th centuries. It is a genre of music that is characterized by improvisation, syncopated rhythms, and a fast tempo.

The word “jazz” was first used in print by writer and bandleader Walter Goodwin in his 1919 article “Jass: A Definition.” In this article, Goodwin defined jazz as “the art of making music from scratch.”

In the early years of jazz, the music was often known as “hot music” or “hot jazz.” This was due to the fact that the music was often played in dance halls and clubs that were not well ventilated, which made the musicians sweat profusely.

Jazz has been described as “the sound of surprise” because it often features unexpected harmonic changes and abrupt changes in tempo. These elements of surprise are what make jazz an exciting and challenging genre of music to play and listen to.

Jazz Elements

There are many different elements that make up the Jazz genre of music. These elements can be found in the 3 main pillars of Jazz: improvisation, swing, and blues. In this article, we will be discussing how to make Jazz music in 2 hours by focusing on these 3 elements.


Rhythm is the element of “time” in music. We perceive rhythm primarily through melody and harmony, the combination of pitch and Vertical motion. But steady pulse also provides the framework, or “grid” upon which a piece of music is built. All music has some kind of pulse, whether it’s fast or slow, regular or irregular. The challenge for jazz musicians is to create interesting rhythmic variations within the basic pulse of a piece.

One way to do this is with syncopation, which is simply accenting a beat that falls in between the usual accents (on the “ands” of 4/4 time, for example). This can be done by playing certain notes slightly late, or by playing a rest on an accented beat. It can also be achieved by using syncopated rhythms on other instruments while the rest of the band continues to play steady pulse.

Another way to create rhythmic interest is with polyrhythms, which are two or more independent rhythms played at the same time. For example, a drummer might play a triplet pattern while a bass player maintains a quarter note pulse. Or two percussionists could play conflicting rhythms on different parts of the drum set.

In jazz, as in any music, it’s important to have a good sense of time and groove. This means being able to feel and keep the basic pulse while also being able to embellish it with interesting variations. The best way to develop a good sense of time is to practice with a metronome, or steady beat machine. Start by keeping strict time at slower tempos, then gradually increase the speed as you get more comfortable with the tempo. You can also try practicing with recordings of great jazz musicians who have a strong sense of time and groove.


In jazz, harmony is created by improvising on the chords set out in the lead sheet or fake book. The chord progression gives a framework for the melody and sets out where improvised solos will occur. The number of chords used in a particular piece of music can vary from two (for example, in some blues progressions) to nine or more (as in some bebop tunes). Chord progressions are usually composed of major and minor chords, with seventh chords being used more often than any other type. Seventh chords provide added tension and color to a chord progression and are essential to creating the sounds and feel of jazz.

Improvising jazz solos is based on melodies, rather than scales or modes. Jazz musicians build solos by playing “licks”, small phrases which can be strung together to create a melodic solo. These licks are often based on scales, but they can also be based on melody fragments or even single notes. In order to create a melodic solo, a musician must have a good understanding of the tune’s chord progression and the melody of the tune.


Jazz improvisation is the process of spontaneously creating fresh melodies over the harmony of a tune. The improviser may be playing alone, or may be part of an ensemble. Improvisation is often done within a framework defined by chord progressions, melodic motifs, or riffs. Improvisation is a process that requires mastery of harmonic knowledge, melodic invention, ear-training skills, and an awareness of jazz tradition.

There are several ways to approach improvisation. The musician may choose to “blow” (improvise) over the changes (harmonic progressions) of a tune, or may “comp” (improvise accompaniment) behind another soloist. A melodic approach involves inventing new melodies over existing tunes; this may be done either by singing or by playing an instrument. A more rhythmic approach includes improvising new rhythms over existing tunes, or by playing grooves and patterns that lay down an underlying pulse or feel. And finally, some musicians approach improvisation from a purely conceptual standpoint, choosing to improvise based on concepts and ideas rather than pre-existing melody or harmony.

No matter what approach is taken, all improvisation involves some degree of risk-taking; the musician must be willing to experiment and take chances in order to create something fresh and new. But with practice and experience comes greater confidence, and the ability to navigate these risks with ease.

The 12-Bar Blues

The 12-bar blues is one of the most important progressions in all of music. It’s the foundation for a ton of popular songs in a variety of genres, including jazz. If you’re just getting started with making Jazz music, learning this progression is a great place to start.

In this article, we’ll give you a quick overview of the 12-bar blues and how it’s used in Jazz. We’ll also provide a few tips on how to make your own Jazz music using this progression. By the end, you should have a good understanding of how to use the 12-bar blues in your own compositions.

The 12-bar blues is a chord progression that consists of twelve bars or measures. The progression is built around the I, IV, and V chords of a major key (or the i, iv, and V chords of a minor key). In its simplest form, the 12-bar blues progression looks like this:

Each chord in this progression lasts for two bars or measures. The first two measures are typically spent on the tonic chord (I), while the third and fourth measures move to the subdominant chord (IV). The fifth and sixth measures usually feature the dominant chord (V), before resolving back to the tonic in measure seven. This pattern then repeats for the remainder of the progression.

Jazz Styles

Jazz is a style of music that originated in the early 20th century in African American communities in the Southern United States. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms and improvisation. You can find influences of Jazz in many other genres of music today. Let’s explore how to make Jazz music.


Bebop is a style of jazz developed in the early to mid-1940s in the United States, which features songs characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.

Hard Bop

Hard bop is a subgenre of jazz that is an extension of bebop (or bop) music. Hard bop developed in the mid-1950s, coalescing in 1953 and 1954.[1][2] It then reached its apogee between 1955 and 1965.[3] Hard bop was inspired by rhythm and blues, gospel music, and “honk-tonk” piano.[4]

Characteristics of hard bop include:
-Complex harmony with “advanced” chord progressions often including “chromatic” movement in the upper structures, as opposed to the diatonicism characteristic of earlier jazz styles such as New Orleans jazz and Swing.
– usage of original tunes rather than standards, as well as a general return to more reliance on improvisation.
-Emphasis on Musicianship over vocalists (1940s/1950s Jazz was lead by Vocalists such as Billie Holiday & Ella Fitzgerald).

Modal jazz is a jazz style that began in the late 1950s and 1960s with Miles Davis’ album Kind of Blue. Modal jazz is different from “bebop” or “hard bop” in that the harmony stays on one chord for an extended period of time, allowing for more interesting melodic improvisation. This type of jazz often features a strong groove and is excellent for dancing.

Free Jazz

Free jazz is an approach to jazz improvisation that was first developed in the 1950s and 1960s. It involves a group of musicians playing together in a loose, open framework that allows each player to contribute their own ideas and improvisations. The result is a highly creative and unique form of music that is often seen as the most avant-garde and experimental style of jazz.

While free jazz can be challenging to listen to at first, it is a genre that rewards close listening. The best way to get into it is to find a few key recordings and spend some time really focusing on what each musician is doing. Once you start to pick out the individual voices and melodies, you’ll begin to appreciate the incredible freedom and creativity of this style of music.


In conclusion, making jazz music in two hours is possible, but it will require some effort on your part. You’ll need to be familiar with the basics of music theory and have a good ear for improvisation. But if you’re willing to put in the work, you’ll be able to create some truly original and enjoyable jazz music in no time.

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