@4:44 you're saying the Ab-6 to Eb∆ is the same as a Bb7(sus b9). Which makes sense since they are modes of the same scale. Which should mean that almost any voicing from that scale should work ie G7(alt), Db7(#11) would also be viable choices to lead to an Eb∆, assuming it doesn't conflict with the melody? So is it much of a stretch to take any alteration of the V and move the root to play other modes of that chord/scale. Say Bb7(alt) could be Cb-6, Db7(sus b9), E7(#11). Or Bb7(#11) could be E7(alt), F-6, G7(sus b9) etc, and so on with not only just the 1st, 2nd, 4th, and 7th modes but all modes of jazz minor? At what point does it not become so viable to use the mode, say does Bb-6 (and its modes) make a good V to Eb? To my ear this specific example doesn't work so well as the others. I hope my questions make sense, this is a tough media to form questions like this =)
Interesting point and question! I'd say I agree with you, but modifying that some bass motions are stronger than others. Db7(#11) is frequently used as a "backdoor ii-V" to Eb^. Bass movement by 5th/4th (Ab/Bb-Eb) is very strong! Bass movement by 3rd is much more rare and generally doesn't have very strong harmonic motion. But, I think overall, I'd agree with your assessment.
Took me a while to actually understand and be able to write "modal" pieces of music with jazz influences, because all explanations are really bad even on books. Most of tutorial try to explain modal music as chord progression on a single mode, and that’s not how it works most of the time at least on a jazz context. You really nailed it with your modal jazz explanations, this is by far the best explanation I have found online. Cheers!
Jazz nowadays can only be modal, with a personal prefered level of borrowed elements from the tonal system. The other way around is not possible. Functional music is to to give each element a role in the revelation of the tonality. Jazz has evolve towards modality. It is easy to analyse functions in tonal music, but confusing to search for functions in a music that wasn't made with respect for functionality. In a tonal perspective, the listener can feel the vibrations and tell that a tension doesn't belong, and will be resolved and led to a pure tonic. It's a way to make a progression that comes from the nature of the sound itself. That's harmony. A dominant chord on the first degree is complete non-sens, as it pushes away and announces a different tonal center. However, one cannot think of it as non-sens if expectations were not set. Modality is a better way to define the jazz system, as it could be a way to use tensions, such as the diatonic tritone, to keep a suspension for as long as needed. I am just trying to make things easier to understand, because the level of confusion is so high that it can be a problem.
I’m new to jazz and music theory (a scientist, so pretty removed from this world). I have an amazing teacher, and your videos are a wonderful compliment to my lessons and reading. Thank you so much for providing these videos; you are very clear and engaging. Much appreciated!
Thanks so much, Jonathan! I'm honored. For some reason there seems to be a connection, I get a lot of Ph.d's and professors ordering my books for some reason. 🤷♂️
Excellent video. As for your opening about some saying your book take more than six months. As the Jazz guitar legend Howard Roberts (HR) would say.... The task increases with the time allotted. I was a student at GIT/MI in early days when HR's curriculum was still being taught and he talked about this. He said people will learn something in the time they are told they are given, that is why some college teach on the Quarter system and some in semesters. They teach the cover the same material but Quarter system in half the time, which increase how hard the task is. For some that task is too difficult and they tend to do will in semester based schools. Same thing happen in working world if you boss gives you two months to complete a project you will pace yourself to finish it in two months, but if you boss had said three weeks and you wanted to keep your job you'd find a way to do it in three weeks. There was more to all this HR used to call "Learning Cycles" on how people learn. I found it very interesting talking to HR about this topic.
Thank you very much for sharing this. I really appreciate the entire video. My passion for music grows through your teaching and playing. Beautiful music. I liked playing along too.
There's a LIFETIME of learning in the books! And just like the videos - so well put together, step-by-step exercises. I start my day w one of his videos and a cuppa, then practice from his books.. So amazing and generous of Jeremy to post these. I mean, only. the privileged few who already had lots of training used to get access to teachings from a master performer like this, and then only at an exclusive music conservatory. THANKS!
I just ordered your first book and now I’m more excited. I know book one is basics but the way you’ve explained modal jazz clicked, so I’m optimistic about your teaching style!
AWesome! I'm really happy it clicked for you! By the way, I don't think it existed when I came out with this video, but there's now a Jazz Piano Fundamentals Book 3 that is focused on modal and modern jazz.
I thought the breakdown of the three categories was perfect. I am no where near the teacher you are but i have a couple students and always struggled when they inevitably discover the term “modal” and start rattling off the modes. You put into words what i couldnt so thanks!
Isn't Infant Eyes a blues tune? I sense tonal cadences very similar to blues. To me it's a tonal piece with a few chord substitutions, key center on Bb modulating to Eb than back to Bb.
Hmmm, I'd have to squint REALLY hard to see it as anything like a blues. I think we're making the same point actually, that the melody is implying key centers, but it's essentially "reharmonizes" to obscure those key centers. That said...it's not quite as obvious to me as it is to you that it's Bb/Eb/Bb. In broad strokes, yes that's true, but there's a lot of other things going on here, especially mixing between major/minor modalities. You're right that it *could* be a tonal piece with different chords. But that's kind of the whole point. Shorter has obscured the tonality with modal harmonies that don't include the leading tones.
If you like those chords you like them because they resolve. If neo soul music uses them it's again because they resolve. If chords are resolving, then you should better analyze them using chord substitutions and you will find the basic tonal music cadences. Just because a pretty chord progression is not ii V I, it doesn't have to be modal music, it's most likely using a lot of chord substitutions. And about playing dorian on ii, mixolydian on V and ionian on I chord, this chord/scale relation did not exist before some berklee teacher made up this ill concept. True jazz greats from the classic era did not use this broken system, they played long melodic phrases over several chords. If it's a ii V I, play a major melody in the key of I over those chords, instead of trying to connect broken phrases you make up by using three different modes over the chords.
When I'm talking about resolutions I'm talking about *tonal* resolutions with a leading tone moving upwards. The #1 characteristic defining modal music is that it lacks this. But I would agree with you that most modal and/or neo-soul progressions have a feeling of tension release and many (but not all) have a feeling of "home." With that said...in my opinion, many tunes either don't or it would be debatable. Which chords are more/less tense in "Maiden Voyage"? Hard for me to honestly say! Which are more/less tense in "Inner Urge"? I'm not sure. So, I think there's some truth to what you're saying but I'm not sure it totally explains a lot of the progressions of important modal tunes.
@@JeremySiskind Thanks, I've recently learned about Bartok pitch axis system as a harmonic analysis/composition tool. In that system a major and minor chord on the same root are substitutes (basically treating the major or minor 3rd as a flexible/elastic blue note, and scale wise superimposed, minor and major scale gives us perfect 4th and lydian 4th, and the major and dominant 7th, there all become blue notes. I do bend these notes on guitar all the time when playing blues without analysis, probably there is some truth to it. Relative major/minor roots are substitutes as well. Expanding on that, any chord with its root a minor 3rd interval below or above or a tritone interval apart from the original chord root are substitute chords. Starting with the classical I IV V I, applying possible substitutions using that system, we can arrive at a lot of possible weird progressions that do have a resolving character pleasing to the ear, even though they're not always the lead tone resolution. And they do have a modal feel, or modal melodies can easily be harmonized using such chord progressions. I mean a lot of Bartok's music was inspred by modal Balkan folk music, but the modes are different than western european church modes, they have different melodic intervals and favored intervallic leaps, less often use 3rd melodic intervals for example. But I could easily see a lot of interesting music I like can be analyzed using that system. I will try it on infant eyes, i just hear the cadences and diatonic centers but haven't analyzed it really.
Very clear and thorough explanation:I learned a lot. Super important info. Thank you, Maestro. 🔥🔥🔥🔥I'll be repeating this vid more than a few times. BTW, Infant Eyes was beautifully played. Mucho Thanxo.
As someone who studied and composed (less so these days) jazz and classical music the addition of atonal as a category alongside modal and tonal in your explanation at the beginning is key (pun intended). Even if someone has no interest or even a strong aversion to atonal music it really needs to be understood in order to understand what atonal music is not, i.e. modal or tonal music. Good work.
Excellent tutorial thanks. One question: If you only had the melody and no chords, the first 4 measures could, in theory, be any mode of Eb major (f dorian etc., especially c aeolian. So without chords written I'd just hear the Bb, Eb, Ab seven note collection. Does this make sense? Did you come up with Eb M because it was notated?
l just watched another video about modal jazz and it says right at the beggining "modal jazz its characterizes for using modality instead of tonality" smh...
Hi Jeremy . Unrelated question . For using a four way close 6 chord , shall we always start the block chord with the third note of the chord ? Like if the chord is C6 we should play from the E ? ( E G A C ) ? Or its also possible to use the chord in root position ?
What about a chord ‘progression’ of Dm Em … no melody, no pedal point, no rhythmic/temporal/dynamic emphasis on either chord … would that be a Tonal, Modal or Atonal Chord ‘Progression’? (albeit, a very simple one ) … … … I thought even Modal Music needs to have a Tonal Centre (though it wouldn’t have functional harmony, like Tonal Music), such that purely Dm Em would be Atonal (ie wouldn’t even ‘qualify’ as Modal - and in any case, which one Mode would it be … ?! (again, without more context))
I'm not a pianist but I was looking for a definition/description of what atonal Jazz is. Loved your tutorial, watched to the end and, crucially, I now understand much better what modal Jazz is. Many thanks.
I'm hearing about Infant Eyes for the first time. Found the entire album on Spotify and was blown away. Please could you recommend similar type of music/artistes with great jazz piano chords. Thanks
It’s great, right? You might enjoy some of the Miles Davis albums from the 60s that also feature Herbie on piano like “Miles Smiles” and “Nefertiti.” Or check out Chick Corea’s album “Now he Sings, Now He Sobs.”
I cant believe you wrote that book!! My grandad gave it to me a few months ago I've loved it, complete coincidence that I click on a random video and find the author.
I would argue all tonal music is modal. It makes frequent use of aolean and Ionian with lots of borrowing from each other (V7 in minor) as well as from Phrygian (Neapolitan chord) as well as combining modes to create synthetic scales (harmonic and melodic minor).
@@JeremySiskind I would argue that the differences between modal and tonal are quite arbitrary as they both use the same set of 0,1,3,5,6,8,10 to establish a tonal center. The similarities are far greater and more meaningful than the differences. And once you bring in modal interchange the differences practically don’t exist anymore.
@@ChristianBurrolawe might have to agree to disagree here, Christian. Although I’ll agree that the differences are not necessarily so great. However, for me, the inclusion or exclusion of a leading down to establish tonality makes a crucial difference.
Wow! I'm going to have to save this video to be viewed at a later juncture. A 'juncture' when my comprehension of 'music theory' is far more profound than it is today AND when I'm not nearly as drunk as I am now (No Gaurantees on that term. The aforementioned is completely to be left up to the authors discretion). Either way, thank you (in advance). I think you have SOMETHING here worth watching. The vast majority of it however' sounds like 'Ancient Greek to me at present time.
All seriousness thanks for your knowledge and observations ! I come from more studio singer songwriter background and went to school for traditional theory / orchestration ! Electrical engineer now and miss it
Modal Jazz isn't about modes? Then why is it called Modal Jazz?! That's a contradiction lol, jazz education makes improvisation so complex that it would take a lifetime to learn every mode, scale, voicing etc
well, l mean, if it doesnt use Modes then you shouldnt call it "Modal" then... Unless you want to get people conbfused on purpose... which would be kind of childish, to say the least
@@JeremySiskind well yes, but if there are a predominance of modes avobe anything else thebn it should be defined as modal, as if you are using tonality over atonalism then the music is defined as "tonal".And the same goes for Atonalism That is how Music Language works.
This guy does not know what he is talking about. No, "tonal" does not get its name from requiring a "leading tone". No, "modal" does not mean lack of a tonal center. No, "modal" does not mean a failure to get from "tension" to "resolution". Listen to anything in Mixolydian in G, for example, and you know that the F major chord will eventually resolve to G major. MOST tonal music, worldwide, is modal. I suggest he spends 5 minutes to listen to fiddle tunes like "Swallowtail Jig" and "Campbell's Farewell to Red Gap" to discover modal, tonal music.
Dude,,,,really? Why does it take you over 20 min to explain this? 👎seems like ur not a pro,and I'd never buy ur book cuz u talk too much and u wanna waste everyone's time, I cud have explained this concisely in less than 10 min
@@JeremySiskind I didn't watch though, I stopped after about 6,7 min in when u started tracking off point,or maybe I fell asleep, but this isnt that good, I'm going to use it as an example to my students on what not to do and how to do concise tutorials
@@JeremySiskind ty I know right,I'm so smart and concise, I'll bet I know more about modal jazz than everyone, I cud probably show u a few things you didn't know about it,just let me know if you have questions 🤓
@4:44 you're saying the Ab-6 to Eb∆ is the same as a Bb7(sus b9). Which makes sense since they are modes of the same scale. Which should mean that almost any voicing from that scale should work ie G7(alt), Db7(#11) would also be viable choices to lead to an Eb∆, assuming it doesn't conflict with the melody?
So is it much of a stretch to take any alteration of the V and move the root to play other modes of that chord/scale. Say Bb7(alt) could be Cb-6, Db7(sus b9), E7(#11). Or Bb7(#11) could be E7(alt), F-6, G7(sus b9) etc, and so on with not only just the 1st, 2nd, 4th, and 7th modes but all modes of jazz minor?
At what point does it not become so viable to use the mode, say does Bb-6 (and its modes) make a good V to Eb? To my ear this specific example doesn't work so well as the others.
I hope my questions make sense, this is a tough media to form questions like this =)
Interesting point and question! I'd say I agree with you, but modifying that some bass motions are stronger than others. Db7(#11) is frequently used as a "backdoor ii-V" to Eb^. Bass movement by 5th/4th (Ab/Bb-Eb) is very strong! Bass movement by 3rd is much more rare and generally doesn't have very strong harmonic motion. But, I think overall, I'd agree with your assessment.
@@AuralTech awesome, I love it!
Lot to digest here but it lays out some skills on how to analyze these sheets better. Thanks!
Awesome! Thanks, Chris!
Took me a while to actually understand and be able to write "modal" pieces of music with jazz influences, because all explanations are really bad even on books. Most of tutorial try to explain modal music as chord progression on a single mode, and that’s not how it works most of the time at least on a jazz context. You really nailed it with your modal jazz explanations, this is by far the best explanation I have found online. Cheers!
Jazz nowadays can only be modal, with a personal prefered level of borrowed elements from the tonal system. The other way around is not possible. Functional music is to to give each element a role in the revelation of the tonality. Jazz has evolve towards modality. It is easy to analyse functions in tonal music, but confusing to search for functions in a music that wasn't made with respect for functionality. In a tonal perspective, the listener can feel the vibrations and tell that a tension doesn't belong, and will be resolved and led to a pure tonic. It's a way to make a progression that comes from the nature of the sound itself. That's harmony. A dominant chord on the first degree is complete non-sens, as it pushes away and announces a different tonal center. However, one cannot think of it as non-sens if expectations were not set. Modality is a better way to define the jazz system, as it could be a way to use tensions, such as the diatonic tritone, to keep a suspension for as long as needed. I am just trying to make things easier to understand, because the level of confusion is so high that it can be a problem.
Interesting
I've heard:"Jazz is the continuity of tonal music"...
@@mileshopkinston I would really like to hear about that.
I’m new to jazz and music theory (a scientist, so pretty removed from this world). I have an amazing teacher, and your videos are a wonderful compliment to my lessons and reading. Thank you so much for providing these videos; you are very clear and engaging. Much appreciated!
Thanks so much, Jonathan! I'm honored. For some reason there seems to be a connection, I get a lot of Ph.d's and professors ordering my books for some reason. 🤷♂️
I'm working through book 1 and I love it!! Thanks for the amazing teaching and playing you put out there :)
That makes me so happy to hear, Ryo!
Excellent video. As for your opening about some saying your book take more than six months. As the Jazz guitar legend Howard Roberts (HR) would say.... The task increases with the time allotted. I was a student at GIT/MI in early days when HR's curriculum was still being taught and he talked about this. He said people will learn something in the time they are told they are given, that is why some college teach on the Quarter system and some in semesters. They teach the cover the same material but Quarter system in half the time, which increase how hard the task is. For some that task is too difficult and they tend to do will in semester based schools. Same thing happen in working world if you boss gives you two months to complete a project you will pace yourself to finish it in two months, but if you boss had said three weeks and you wanted to keep your job you'd find a way to do it in three weeks. There was more to all this HR used to call "Learning Cycles" on how people learn. I found it very interesting talking to HR about this topic.
Very wise and interesting! Great food for thought.
Thank you very much for sharing this. I really appreciate the entire video. My passion for music grows through your teaching and playing. Beautiful music. I liked playing along too.
Man, that's so nice, Josh! Let me know if there's ever anything I can help you with (musically, that is. Can't lend ya any money. 😜 )
There's a LIFETIME of learning in the books! And just like the videos - so well put together, step-by-step exercises. I start my day w one of his videos and a cuppa, then practice from his books.. So amazing and generous of Jeremy to post these. I mean, only. the privileged few who already had lots of training used to get access to teachings from a master performer like this, and then only at an exclusive music conservatory. THANKS!
I just ordered your first book and now I’m more excited. I know book one is basics but the way you’ve explained modal jazz clicked, so I’m optimistic about your teaching style!
AWesome! I'm really happy it clicked for you! By the way, I don't think it existed when I came out with this video, but there's now a Jazz Piano Fundamentals Book 3 that is focused on modal and modern jazz.
@@JeremySiskind Thank! I’ll get there eventually. Book 1 is very thorough. 😂
Great video, the tip about the melody usually defining the mode more than the harmony was super helpful.
I thought the breakdown of the three categories was perfect.
I am no where near the teacher you are but i have a couple students and always struggled when they inevitably discover the term “modal” and start rattling off the modes.
You put into words what i couldnt so thanks!
I’m so happy to help, Taylor! Thanks for the nice note!
Isn't Infant Eyes a blues tune? I sense tonal cadences very similar to blues. To me it's a tonal piece with a few chord substitutions, key center on Bb modulating to Eb than back to Bb.
Hmmm, I'd have to squint REALLY hard to see it as anything like a blues. I think we're making the same point actually, that the melody is implying key centers, but it's essentially "reharmonizes" to obscure those key centers. That said...it's not quite as obvious to me as it is to you that it's Bb/Eb/Bb. In broad strokes, yes that's true, but there's a lot of other things going on here, especially mixing between major/minor modalities.
You're right that it *could* be a tonal piece with different chords. But that's kind of the whole point. Shorter has obscured the tonality with modal harmonies that don't include the leading tones.
I appreciate your thoughtful comments. They made me think!
I watched longer than 20 minutes :D
This is more advanced than my current level, but I picked out a couple of things.
Thanks
Nice, I'm glad you were able to put some things together. Maybe you'll come back to the video in a few months when your knowledge is more solid.
Love this! do you have a transcription for what you played on 16:00?
I laughed at 6:55 when you were about to play the first chord of "so what", placed your fingers but did not ahah (good video)
Ahaha, it doesn't always go as planned. Thanks for watching, Madame!
Jeremy: “What is modal Jazz? 🤓”
Me: “Yes. 🤓 “
Btw why are some comments so mean?😢you are such a great teacher!🥺🥺😤🤩
again, loved it! do you have other videos analysing songs like you were doing here? just beginning to know your channel
Here’s a recent one you might like: Jeremy Explains Crystal Silence by Chick Corea
th-cam.com/video/gMO9ojr9awU/w-d-xo.html
If you like those chords you like them because they resolve. If neo soul music uses them it's again because they resolve. If chords are resolving, then you should better analyze them using chord substitutions and you will find the basic tonal music cadences. Just because a pretty chord progression is not ii V I, it doesn't have to be modal music, it's most likely using a lot of chord substitutions. And about playing dorian on ii, mixolydian on V and ionian on I chord, this chord/scale relation did not exist before some berklee teacher made up this ill concept. True jazz greats from the classic era did not use this broken system, they played long melodic phrases over several chords. If it's a ii V I, play a major melody in the key of I over those chords, instead of trying to connect broken phrases you make up by using three different modes over the chords.
I really love your comment! It's so interesting!
When I'm talking about resolutions I'm talking about *tonal* resolutions with a leading tone moving upwards. The #1 characteristic defining modal music is that it lacks this. But I would agree with you that most modal and/or neo-soul progressions have a feeling of tension release and many (but not all) have a feeling of "home." With that said...in my opinion, many tunes either don't or it would be debatable. Which chords are more/less tense in "Maiden Voyage"? Hard for me to honestly say! Which are more/less tense in "Inner Urge"? I'm not sure. So, I think there's some truth to what you're saying but I'm not sure it totally explains a lot of the progressions of important modal tunes.
@@JeremySiskind Thanks, I've recently learned about Bartok pitch axis system as a harmonic analysis/composition tool. In that system a major and minor chord on the same root are substitutes (basically treating the major or minor 3rd as a flexible/elastic blue note, and scale wise superimposed, minor and major scale gives us perfect 4th and lydian 4th, and the major and dominant 7th, there all become blue notes. I do bend these notes on guitar all the time when playing blues without analysis, probably there is some truth to it. Relative major/minor roots are substitutes as well. Expanding on that, any chord with its root a minor 3rd interval below or above or a tritone interval apart from the original chord root are substitute chords. Starting with the classical I IV V I, applying possible substitutions using that system, we can arrive at a lot of possible weird progressions that do have a resolving character pleasing to the ear, even though they're not always the lead tone resolution. And they do have a modal feel, or modal melodies can easily be harmonized using such chord progressions. I mean a lot of Bartok's music was inspred by modal Balkan folk music, but the modes are different than western european church modes, they have different melodic intervals and favored intervallic leaps, less often use 3rd melodic intervals for example. But I could easily see a lot of interesting music I like can be analyzed using that system. I will try it on infant eyes, i just hear the cadences and diatonic centers but haven't analyzed it really.
You are excellent! Where do I find the video on voicings that you mentioned?
I think it's this one: th-cam.com/video/T5KJ_VxJ7S8/w-d-xo.html
I'm a steel player. This is excellent. Thank you.
You're very welcome, Michael!
Very clear and thorough explanation:I learned a lot. Super important info. Thank you, Maestro. 🔥🔥🔥🔥I'll be repeating this vid more than a few times. BTW, Infant Eyes was beautifully played. Mucho Thanxo.
Thank you! Infant Eyes is such a freakin’ good tune it almost makes me mad. 😂
As someone who studied and composed (less so these days) jazz and classical music the addition of atonal as a category alongside modal and tonal in your explanation at the beginning is key (pun intended). Even if someone has no interest or even a strong aversion to atonal music it really needs to be understood in order to understand what atonal music is not, i.e. modal or tonal music. Good work.
Great vid. I love modal stuff, borrowing chords for parallel modes and exotic scales always strike me as more emotional than typical 2-5-1s
Thanks 😊for the explanation.
You’re so welcome. Thanks for watching!!!
Very enlightening. Thanks Jeremy.
My pleasure, Stuart!
Excellent tutorial thanks. One question: If you only had the melody and no chords, the first 4 measures could, in theory, be any mode of Eb major (f dorian etc., especially c aeolian. So without chords written I'd just hear the Bb, Eb, Ab seven note collection. Does this make sense? Did you come up with Eb M because it was notated?
Thank you for this video, so useful! Best regards from Argentina
Great! I'm thrilled - thank you!
Thanks for the free lesson very helpful and beautiful music
My pleasure, Roger! Thanks for the nice comment and wishing you a very wonderful new year!
l just watched another video about modal jazz and it says right at the beggining "modal jazz its characterizes for using modality instead of tonality" smh...
Interesting stuff. Where does this leave pop and rock music that almost always avoids V-I (or V-i) and uses LiV-I or bVII-I instead?
A question !
How you ( or a jazz player ) organize his left and right hand parts ? ( since there is no left hand part on the sheet in jazz )
Oh boy, I wrote a whole book about this called "Playing Solo Jazz Piano." Here's a video answer: th-cam.com/video/DlDwUMPY7Vc/w-d-xo.html
@@JeremySiskind thank you Jeremy.
Hi Jeremy . Unrelated question . For using a four way close 6 chord , shall we always start the block chord with the third note of the chord ? Like if the chord is C6 we should play from the E ? ( E G A C ) ? Or its also possible to use the chord in root position ?
@@damoon57 I'm sorry - I'm not really sure I understand this question. I don't totally understand the terminology "four-way 6"
@@damoon57 Maybe this video helps answer your question?
Great vid! What software are you using to put the music onto the screen in realtime/as you film?
Great video and thanks for introducing me to Infant Eyes!!
What a song, eh? It’s really beautiful!
What about a chord ‘progression’ of Dm Em … no melody, no pedal point, no rhythmic/temporal/dynamic emphasis on either chord … would that be a Tonal, Modal or Atonal Chord ‘Progression’? (albeit, a very simple one ) … … … I thought even Modal Music needs to have a Tonal Centre (though it wouldn’t have functional harmony, like Tonal Music), such that purely Dm Em would be Atonal (ie wouldn’t even ‘qualify’ as Modal - and in any case, which one Mode would it be … ?! (again, without more context))
I dig the specs, Teach!!!
Thanks, John! The better to see you with! 😉
I'm not a pianist but I was looking for a definition/description of what atonal Jazz is. Loved your tutorial, watched to the end and, crucially, I now understand much better what modal Jazz is. Many thanks.
That makes me happy! Thank you for that comment!
Deep and practical lesson 💯❗️
I'm hearing about Infant Eyes for the first time. Found the entire album on Spotify and was blown away. Please could you recommend similar type of music/artistes with great jazz piano chords. Thanks
It’s great, right? You might enjoy some of the Miles Davis albums from the 60s that also feature Herbie on piano like “Miles Smiles” and “Nefertiti.” Or check out Chick Corea’s album “Now he Sings, Now He Sobs.”
Thanks@@JeremySiskind will listen to them!
One of your finest works. Thanks
I'm thinking your idea of playing one scale over several chords will work in tonal jazz also.
Well, it works, but you want to emphasize the chord tones there. In modal jazz, that becomes much less important.
Thank you for this!
I cant believe you wrote that book!! My grandad gave it to me a few months ago I've loved it, complete coincidence that I click on a random video and find the author.
Awesome, I'm so happy that you like the book!
This is the first one of many that is helping me "get it."
wow love love love i love ur way of teaching so much
Would love to hear your take on voicings also, like you mentioned.
All the best!
Yes! I did make a video about three standard modal jazz voicings but will make something else when i formulate my thoughts more.
@@JeremySiskind yeah ive seen it. Excellent stuff.
Looking forward to the next one.
I would argue all tonal music is modal. It makes frequent use of aolean and Ionian with lots of borrowing from each other (V7 in minor) as well as from Phrygian (Neapolitan chord) as well as combining modes to create synthetic scales (harmonic and melodic minor).
I don't quite agree with you (for the reasons listed in the video). Tonal music uses modes, but that doesn't make it "modal'
@@JeremySiskind I would argue that the differences between modal and tonal are quite arbitrary as they both use the same set of 0,1,3,5,6,8,10 to establish a tonal center. The similarities are far greater and more meaningful than the differences. And once you bring in modal interchange the differences practically don’t exist anymore.
@@ChristianBurrolawe might have to agree to disagree here, Christian. Although I’ll agree that the differences are not necessarily so great. However, for me, the inclusion or exclusion of a leading down to establish tonality makes a crucial difference.
Thanks Jeremy!
this really reminds me of the method that ron miller teaches and from his books :)
Cool! I’ve never heard of Ron Miller but I’ll look him up.
Wow! I'm going to have to save this video to be viewed at a later juncture. A 'juncture' when my comprehension of 'music theory' is far more profound than it is today AND when I'm not nearly as drunk as I am now (No Gaurantees on that term. The aforementioned is completely to be left up to the authors discretion).
Either way, thank you (in advance).
I think you have SOMETHING here worth watching.
The vast majority of it however' sounds like 'Ancient Greek to me at present time.
Lol! I'm so glad you're drunk-watching my videos. They really shouldn't be watched sober. 😂
this was a great video to find and practice off of
This is the best 251 exercise, indeed.
You got it - thanks, Quantum Ideas!
very good
Great!
“Focus on color change” is an excellent Way to describe modal!
Good video.
Why thank you!
Wow - thanks!!!!❤❤❤
I stayed for the whole 20 minutes, so that should tell you something. Now, where can I find that follow up with the voicings? 😀
I love digressions 😋
I feel like jazz musicians are perhaps just 10x more intelligent than the rest of us
Fred Armisen teaches us how to paint music.
All seriousness thanks for your knowledge and observations ! I come from more studio singer songwriter background and went to school for traditional theory / orchestration ! Electrical engineer now and miss it
Modal Jazz isn't about modes? Then why is it called Modal Jazz?! That's a contradiction lol, jazz education makes improvisation so complex that it would take a lifetime to learn every mode, scale, voicing etc
well, l mean, if it doesnt use Modes then you shouldnt call it "Modal" then... Unless you want to get people conbfused on purpose... which would be kind of childish, to say the least
I mean, it does use modes, but everything uses modes in one way or another.
@@JeremySiskind well yes, but if there are a predominance of modes avobe anything else thebn it should be defined as modal, as if you are using tonality over atonalism then the music is defined as "tonal".And the same goes for Atonalism That is how Music Language works.
Well its what people call it. Some of the greatest jazz records are modal. Also the lydian chromatic concept probably ties into why we call it this.
This guy does not know what he is talking about.
No, "tonal" does not get its name from requiring a "leading tone".
No, "modal" does not mean lack of a tonal center.
No, "modal" does not mean a failure to get from "tension" to "resolution". Listen to anything in Mixolydian in G, for example, and you know that the F major chord will eventually resolve to G major.
MOST tonal music, worldwide, is modal. I suggest he spends 5 minutes to listen to fiddle tunes like "Swallowtail Jig" and "Campbell's Farewell to Red Gap" to discover modal, tonal music.
Dude,,,,really? Why does it take you over 20 min to explain this? 👎seems like ur not a pro,and I'd never buy ur book cuz u talk too much and u wanna waste everyone's time, I cud have explained this concisely in less than 10 min
Thanks for your feedback, Mike! I'm honored that you watched!
@@JeremySiskind I didn't watch though, I stopped after about 6,7 min in when u started tracking off point,or maybe I fell asleep, but this isnt that good, I'm going to use it as an example to my students on what not to do and how to do concise tutorials
@@mikegeld1280dude, you’re my hero
@@JeremySiskind ty I know right,I'm so smart and concise, I'll bet I know more about modal jazz than everyone, I cud probably show u a few things you didn't know about it,just let me know if you have questions 🤓