MODMOS scale: Difference between revisions
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: This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2011-03-14 | : This revision was by author [[User:genewardsmith|genewardsmith]] and made on <tt>2011-03-14 22:57:31 UTC</tt>.<br> | ||
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=MODMOS in Jazz= | =MODMOS in Jazz= | ||
The modern jazz view of music theory is predominantly modal. Jazz musicians are often taught to think of a complex chord as implying one or more "background" modes that fill in the cracks between the notes in the chord; all of these scales commonly used are Rothenberg proper scales and can be thought of as albitonic-sized proper scale "closures" of the chord. This is used as a tool to aid the musician in melodic improvisation, as well as in finding the most similar sounding harmonic extensions for a certain chord. When more than one mode fits a particular chord or melody, the choice is often left up to the improvisational caprice of the soloist. One good reference for more information on the specifics of modal harmony as used in jazz is Ron Miller's [[@http://www.amazon.com/Modal-Jazz-Composition-Harmony-1/dp/B000MMQ2HG|Modal Jazz Composition and Harmony.]] | The modern jazz view of music theory is predominantly modal. Jazz musicians are often taught to think of a complex chord as implying one or more "background" modes that fill in the cracks between the notes in the chord; all of these scales commonly used are Rothenberg proper scales and can be thought of as [[Chromatic pairs|albitonic]]-sized proper scale "closures" of the chord. This is used as a tool to aid the musician in melodic improvisation, as well as in finding the most similar sounding harmonic extensions for a certain chord. When more than one mode fits a particular chord or melody, the choice is often left up to the improvisational caprice of the soloist. One good reference for more information on the specifics of modal harmony as used in jazz is Ron Miller's [[@http://www.amazon.com/Modal-Jazz-Composition-Harmony-1/dp/B000MMQ2HG|Modal Jazz Composition and Harmony.]] | ||
Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find a theory to explain some of the novel harmonic concepts that were being employed by composers such as Debussy and Ravel. | Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find a theory to explain some of the novel harmonic concepts that were being employed by composers such as Debussy and Ravel. | ||
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The modern jazz view of music theory is predominantly modal. Jazz musicians are often taught to think of a complex chord as implying one or more &quot;background&quot; modes that fill in the cracks between the notes in the chord; all of these scales commonly used are Rothenberg proper scales and can be thought of as albitonic-sized proper scale &quot;closures&quot; of the chord. This is used as a tool to aid the musician in melodic improvisation, as well as in finding the most similar sounding harmonic extensions for a certain chord. When more than one mode fits a particular chord or melody, the choice is often left up to the improvisational caprice of the soloist. One good reference for more information on the specifics of modal harmony as used in jazz is Ron Miller's <a class="wiki_link_ext" href="http://www.amazon.com/Modal-Jazz-Composition-Harmony-1/dp/B000MMQ2HG" rel="nofollow" target="_blank">Modal Jazz Composition and Harmony.</a><br /> | The modern jazz view of music theory is predominantly modal. Jazz musicians are often taught to think of a complex chord as implying one or more &quot;background&quot; modes that fill in the cracks between the notes in the chord; all of these scales commonly used are Rothenberg proper scales and can be thought of as <a class="wiki_link" href="/Chromatic%20pairs">albitonic</a>-sized proper scale &quot;closures&quot; of the chord. This is used as a tool to aid the musician in melodic improvisation, as well as in finding the most similar sounding harmonic extensions for a certain chord. When more than one mode fits a particular chord or melody, the choice is often left up to the improvisational caprice of the soloist. One good reference for more information on the specifics of modal harmony as used in jazz is Ron Miller's <a class="wiki_link_ext" href="http://www.amazon.com/Modal-Jazz-Composition-Harmony-1/dp/B000MMQ2HG" rel="nofollow" target="_blank">Modal Jazz Composition and Harmony.</a><br /> | ||
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Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find a theory to explain some of the novel harmonic concepts that were being employed by composers such as Debussy and Ravel.<br /> | Much of this paradigm was originally derived from the techniques used by composers during the impressionistic era, and most likely emerged from the attempts of jazz musicians such as Bill Evans to find a theory to explain some of the novel harmonic concepts that were being employed by composers such as Debussy and Ravel.<br /> | ||