Once I became familiar with how to really compose modal music i found my groove. There is virtually no literature on the subject, except a chapter in Jazz harmony books that amount to: "just use Dorian, or Mixo and don't resolve to the Tonic) Modal is MUCH more, it is a playground with thousands of colors on a pallet and shapes to play with. There are no boundaries which I always found extremely limiting when studying tonal harmony. The study and practice of the 2 books mentioned also opened my ears to hear beyond the obvious and to float and suggest and basically deceive anything tonal music demands. I have listened to modal music all my life and now I have the tools. I used to think tensions such as Dominant b9, b13, #11 were totally 'Rad" - LOL Thanks to Ron Miller
As a composer myself I highly recommend; "Modal Jazz, Composition and Harmony" by author Ron Miller. He identifies how modal harmonic material is derived from the altered as well as the unaltered diatonic modes. In addition he covers add note chords, delete note chords, slash chords, upper structures, 3 part upper structures and pentatonics (of which there are hundreds, not just the two everyone is familiar with) . He also explains the chord connection process, form and harmonic contour (and contrast)by introducing a unique way of analysis; it is based on overall contour and contrast of modal compositions. There are no roman numerals and no keys mentioned in the book, only modal chord descriptions based on their sonority and source scale. The wealth of material is breathtaking and deceivingly simple, because it covers music from Ravel to Wayne Shorter, Keith Jarrett and to modern pop styles. Surprisingly they all have so much in common. Later in his Book 2 he follows melodic composition, how to use symmetric scales, how to create your own modes, use computer algorithms to inspire sequences for musical development; this gets into the realm Schoenberg, Webern and the like.
@@mrnicto1 EDIT: the more I'm reading about it now, the more it seems a lot of cross-pollination has taken place between the two! Jazz "started" near the end of the 19th century, blues and ragtime came before that (esp. blues). Ravel has literally stated he is indebted to jazz. The early development of jazz took place almost exclusively in America, in a time where Debussy's music definitely hadn't reached the continent yet. Pentatonic scales came from African (folk) music and blue notes developed out of that - though at the same time, Debussy's "blue notes" seem to have developed mostly out of extended (or counter-) romanticism and modality, so I guess jazz had 2 sources of inspiration for extended harmonies, and it seems that extended harmony (beyond blue notes) got into the jazz genre really late (1940+)
Thank you for making this. Impressionism is by far my favourite period.
Once I became familiar with how to really compose modal music i found my groove. There is virtually no literature on the subject, except a chapter in Jazz harmony books that amount to: "just use Dorian, or Mixo and don't resolve to the Tonic)
Modal is MUCH more, it is a playground with thousands of colors on a pallet and shapes to play with. There are no boundaries which I always found extremely limiting when studying tonal harmony. The study and practice of the 2 books mentioned also opened my ears to hear beyond the obvious and to float and suggest and basically deceive anything tonal music demands. I have listened to modal music all my life and now I have the tools. I used to think tensions such as Dominant b9, b13, #11 were totally 'Rad" - LOL Thanks to Ron Miller
What books are those? "The study and practice of the 2 books mentioned"
Very enjoyable.
As a composer myself I highly recommend; "Modal Jazz, Composition and Harmony" by author Ron Miller. He identifies how modal harmonic material is derived from the altered as well as the unaltered diatonic modes. In addition he covers add note chords, delete note chords, slash chords, upper structures, 3 part upper structures and pentatonics (of which there are hundreds, not just the two everyone is familiar with) .
He also explains the chord connection process, form and harmonic contour (and contrast)by introducing a unique way of analysis; it is based on overall contour and contrast of modal compositions. There are no roman numerals and no keys mentioned in the book, only modal chord descriptions based on their sonority and source scale.
The wealth of material is breathtaking and deceivingly simple, because it covers music from Ravel to Wayne Shorter, Keith Jarrett and to modern pop styles.
Surprisingly they all have so much in common.
Later in his Book 2 he follows melodic composition, how to use symmetric scales, how to create your own modes, use computer algorithms to inspire sequences for musical development; this gets into the realm Schoenberg, Webern and the like.
Slim Yelow i will check it! thanks
Just great. Thank you
so jazz harmony is influenced by this?
zaqareemalcolm I've heard that before, it's in my opinion depending on one's point of view, some say yes and some disagree
It's rather the other way around.
@@douwemusic how can it be the other way around, if impressionism comes earlier in music history than jazz or blues?
@@douwemusic Impressionism precedes ragtime by at least 20 years
@@mrnicto1 EDIT: the more I'm reading about it now, the more it seems a lot of cross-pollination has taken place between the two!
Jazz "started" near the end of the 19th century, blues and ragtime came before that (esp. blues). Ravel has literally stated he is indebted to jazz. The early development of jazz took place almost exclusively in America, in a time where Debussy's music definitely hadn't reached the continent yet.
Pentatonic scales came from African (folk) music and blue notes developed out of that - though at the same time, Debussy's "blue notes" seem to have developed mostly out of extended (or counter-) romanticism and modality, so I guess jazz had 2 sources of inspiration for extended harmonies, and it seems that extended harmony (beyond blue notes) got into the jazz genre really late (1940+)
Modernism and postmodernism coming soon?
If I can get copyright permission of the recordings.
not many people do videos on postmodern music so that would be great
I have them all done, but when I submitted them, they were rejected because I didn't have permission to use the recordings I did. I'll keep trying.
Great! What book(s) did you get it from?
audioz.download/tutorials/books/134578-tonal-harmony-8-edition-by-stefan-kostka-tonal-harmony-and-dorothy-payne-tonal-harmony.html
très bien vraiment merci
a curiosity
v=6BD_sQ7IQ3o