neurodivergent
is an experimental trio that pushes the boundaries of improvisation through raw and emotional explorations of neurodivergence. The group is co-created by three musicians (with guest appearance by Kacper Malisz), each bringing a unique perspective and diverse musical backgrounds (hip-hop, avant-garde, Polish traditional music, jazz, classical music).
Their music, combining intricate improvisations with rhythmic dynamism and trance-like repetition, reflects the nuances and complexity of the neuroatypical mind (Aga's mind). It is about unconventional choices and expression that is unpredictable in character. It embraces alternative ways of thinking, rejecting harmony in its conventional sense in favor of structures, motifs, and musical “chemistry.”
The album is now available on streaming platforms and for purchase in good music stores.
Label: Polish Radio Musc Agency
Aga Derlak - p
Maciej Szczyciński - db
Miłosz Berdzik - dr
feat. Kacper Malisz - vn



TOUR
24.07 / Letnia Akademia Jazzu / Klub Wytwórnia / Łódź PREMIERA
10.08 / 9 Hills Festival / Chełmno
5.09 / Blue Yard / Osaka
25.11 / Polskie Radio / Klub Jazzowy
27.11 / Filharmonia Opolska / Opole
28.11 / Pod Filarami / Gorzów Wielkopolski
25.02 / Teatr Stary / Lublin
10.04 / Warszawa TBA
30.04 / TBA
12.05 / TBA































![[PL]**La Profe #8** II V I bazujące na voicingach pentatonicznych.
Wychodzimy od voicingu pentatonicznego IIm7 i łączymy najbliższą drogą z dominantą tak, aby w lewej ręce była twórcą i septyma. Możemy posiłkować się substytutem trytonowym, upper structures, alteracjami. Rozwiązujemy również na akord pentatoniczny (Imaj7). Warto ćwiczyć te układy, jak już macie zrobione II V I w drop-2. Bardziej otwarte, szersze brzmienie. Poza tym z voicingami pentatonicznymi przy pomocy voice leadingu możemy robić rooooozne odjechane rzeczy. O tym w następnym odcinku. Pa!
[EN]**La Profe #8**
II–V–I based on pentatonic voicings.
We start from a IIm7 pentatonic voicing and connect it to the dominant using the closest possible voice leading, so that the left hand contains the root and the seventh. We can make use of tritone substitution, upper structures, and alterations. We also resolve to a pentatonic chord (Imaj7).
It’s worth practicing these shapes once you’ve already worked through II–V–I in drop-2. The sound is more open and spacious. Besides that, with pentatonic voicings and voice leading, we can do all kinds of crazy stuff.
More on that in the next episode. Bye!
#musiced #jazz #piano](https://scontent-den2-1.cdninstagram.com/v/t51.82787-15/735507504_18609930010047709_1391732772253932260_n.jpg?stp=dst-jpg_e35_tt6&_nc_cat=101&ccb=7-5&_nc_sid=18de74&efg=eyJlZmdfdGFnIjoiQ0xJUFMuYmVzdF9pbWFnZV91cmxnZW4uQzMifQ%3D%3D&_nc_ohc=YJvbkuA4xgcQ7kNvwE7uvGk&_nc_oc=AdqnNzlLEH6Aq68apc13Dg0cTyNjSfe8xiwWBrnL3pv0YHtMMSwKT11ild42pXJsmCU&_nc_zt=23&_nc_ht=scontent-den2-1.cdninstagram.com&edm=ANo9K5cEAAAA&_nc_gid=jkiO302zjhAOcpKLbJlA0Q&_nc_tpa=Q5bMBQGvRyM8oB4DbQoFUw26xTVtTVorax6R7VjRG-NKbjNkiRf1YIPEAxLsCPIxsT1YM9f00ub6lhWF&oh=00_AQBo4Yg-qpjQo3MKUWtYPaRsUm4ML7UBmv4xY-GrCCUFuQ&oe=6A592409)
