Are modes in jazz primarily a melody thing?Using modes and static harmonyWhen to use different scales or modes over chord progressions?History of “jazz minor/melodic minor” harmonyWhat's the value of modes?Modes over II-V-IRelationship between modes and keysWhich chords belong to a mode?Is the melodic minor scale use as the basis of chord progressions in modern jazz?Whole-step technique for figuring out jazz scales?Do jazz musicians improvise on the parent scale in addition to the chord-scales?
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Are modes in jazz primarily a melody thing?
Using modes and static harmonyWhen to use different scales or modes over chord progressions?History of “jazz minor/melodic minor” harmonyWhat's the value of modes?Modes over II-V-IRelationship between modes and keysWhich chords belong to a mode?Is the melodic minor scale use as the basis of chord progressions in modern jazz?Whole-step technique for figuring out jazz scales?Do jazz musicians improvise on the parent scale in addition to the chord-scales?
I was wondering when jazz cats talk about how they'd use a Lydian scale to improvise over a major chord, or a Dorian scale to improvise over a minor chord they're mainly talking about the melody? So the harmony is generally diatonic chords of the scale (say ii7-V7-I7). So in the key of C major that'd be Dm7, G7, Cmaj7. The improvisation (as an example) would be D Dorian, G Mixolydian, C Lydian. So in a piano, that'd just be my right hand doing that modal stuff (and keep away from b9 avoid notes with whatever chord tone I’m currently on) and my left hand remains in C major.
Does that sound right? I think the improvised melodies are modal and sometimes altered modal scales. But we're just talking about the melody right? They keep the harmony pretty basic/diatonic chords?
theory jazz modes improvisation melody
asked 3 hours ago
foreyezforeyez
5,86242690
add a comment |
I was wondering when jazz cats talk about how they'd use a Lydian scale to improvise over a major chord, or a Dorian scale to improvise over a minor chord they're mainly talking about the melody? So the harmony is generally diatonic chords of the scale (say ii7-V7-I7). So in the key of C major that'd be Dm7, G7, Cmaj7. The improvisation (as an example) would be D Dorian, G Mixolydian, C Lydian. So in a piano, that'd just be my right hand doing that modal stuff (and keep away from b9 avoid notes with whatever chord tone I’m currently on) and my left hand remains in C major.
Does that sound right? I think the improvised melodies are modal and sometimes altered modal scales. But we're just talking about the melody right? They keep the harmony pretty basic/diatonic chords?
theory jazz modes improvisation melody
asked 3 hours ago
foreyezforeyez
5,86242690
To play in a mode is more than just playing the right notes. You need to make the root of the mode feel like home and that is the difference between playing in C major or D Dorian. Same notes but D sounds like home in one and C in the other
– b3ko
1 hour ago
add a comment |
I was wondering when jazz cats talk about how they'd use a Lydian scale to improvise over a major chord, or a Dorian scale to improvise over a minor chord they're mainly talking about the melody? So the harmony is generally diatonic chords of the scale (say ii7-V7-I7). So in the key of C major that'd be Dm7, G7, Cmaj7. The improvisation (as an example) would be D Dorian, G Mixolydian, C Lydian. So in a piano, that'd just be my right hand doing that modal stuff (and keep away from b9 avoid notes with whatever chord tone I’m currently on) and my left hand remains in C major.
Does that sound right? I think the improvised melodies are modal and sometimes altered modal scales. But we're just talking about the melody right? They keep the harmony pretty basic/diatonic chords?
theory jazz modes improvisation melody
asked 3 hours ago
foreyezforeyez
5,86242690
I was wondering when jazz cats talk about how they'd use a Lydian scale to improvise over a major chord, or a Dorian scale to improvise over a minor chord they're mainly talking about the melody? So the harmony is generally diatonic chords of the scale (say ii7-V7-I7). So in the key of C major that'd be Dm7, G7, Cmaj7. The improvisation (as an example) would be D Dorian, G Mixolydian, C Lydian. So in a piano, that'd just be my right hand doing that modal stuff (and keep away from b9 avoid notes with whatever chord tone I’m currently on) and my left hand remains in C major.
Does that sound right? I think the improvised melodies are modal and sometimes altered modal scales. But we're just talking about the melody right? They keep the harmony pretty basic/diatonic chords?
theory jazz modes improvisation melody
theory jazz modes improvisation melody
asked 3 hours ago
foreyezforeyez
5,86242690
asked 3 hours ago
foreyezforeyez
5,86242690
edited 2 hours ago
foreyez
asked 3 hours ago
foreyezforeyez
5,86242690
asked 3 hours ago
foreyezforeyez
5,86242690
asked 3 hours ago
foreyezforeyez
5,86242690
5,86242690
To play in a mode is more than just playing the right notes. You need to make the root of the mode feel like home and that is the difference between playing in C major or D Dorian. Same notes but D sounds like home in one and C in the other
– b3ko
1 hour ago
add a comment |
To play in a mode is more than just playing the right notes. You need to make the root of the mode feel like home and that is the difference between playing in C major or D Dorian. Same notes but D sounds like home in one and C in the other
– b3ko
1 hour ago
To play in a mode is more than just playing the right notes. You need to make the root of the mode feel like home and that is the difference between playing in C major or D Dorian. Same notes but D sounds like home in one and C in the other
– b3ko
1 hour ago
To play in a mode is more than just playing the right notes. You need to make the root of the mode feel like home and that is the difference between playing in C major or D Dorian. Same notes but D sounds like home in one and C in the other
– b3ko
1 hour ago
add a comment |
1 Answer
1
active
oldest
votes
The simple/traditional approach is for the chords to match the scales you're improvising over. You wouldn't improvise with C Lydian in your right hand and simultaneously play a CMaj11 chord--the F in your left hand would clash with the F♯ in your right hand. Similarly, if you improvise over the V7 chord using the G altered scale, you wouldn't simultaneously play a G9 chord--the A♭ in your right hand would clash with the A♮ in your left hand.
To your question "are modes in jazz primarily a melody thing?" the answer is: modes are simply fancy names for scales. These scales can be used to define the melody and the harmony. The straightforward approach is for those two things (melody and harmony) to agree with each other.
One small terminology note: just because you're using a mode to solo doesn't mean you're improvisation is "modal." The adjective "modal" usually refers to a style of composition that avoids traditional harmony, etc. Simply using a mode to construct an improvisation wouldn't qualify the solo as "modal."
answered 2 hours ago
jdjazzjdjazz
7,38421952
As an aside, if you want to break from the more traditional convention, you could play a left-hand chord that clashes with the right-hand improvisation.
– jdjazz
2 hours ago
Or you could play some melodic line way outside what your band is comping with, happens all the time. +1
– user45266
1 hour ago
1
@user45266, totally agree. I was trying to distinguish from those scenarios by using words like straightforward, simple, traditional, etc. but it didn't quite feel right because of how established it is to go out!
– jdjazz
49 mins ago
Yeah, and I think you did a good job doing it, but when I find an opportunity to be nitpicky, no force on this Earth can stop me! :)
– user45266
37 mins ago
add a comment |
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The simple/traditional approach is for the chords to match the scales you're improvising over. You wouldn't improvise with C Lydian in your right hand and simultaneously play a CMaj11 chord--the F in your left hand would clash with the F♯ in your right hand. Similarly, if you improvise over the V7 chord using the G altered scale, you wouldn't simultaneously play a G9 chord--the A♭ in your right hand would clash with the A♮ in your left hand.
To your question "are modes in jazz primarily a melody thing?" the answer is: modes are simply fancy names for scales. These scales can be used to define the melody and the harmony. The straightforward approach is for those two things (melody and harmony) to agree with each other.
One small terminology note: just because you're using a mode to solo doesn't mean you're improvisation is "modal." The adjective "modal" usually refers to a style of composition that avoids traditional harmony, etc. Simply using a mode to construct an improvisation wouldn't qualify the solo as "modal."
answered 2 hours ago
jdjazzjdjazz
7,38421952
As an aside, if you want to break from the more traditional convention, you could play a left-hand chord that clashes with the right-hand improvisation.
– jdjazz
2 hours ago
Or you could play some melodic line way outside what your band is comping with, happens all the time. +1
– user45266
1 hour ago
1
@user45266, totally agree. I was trying to distinguish from those scenarios by using words like straightforward, simple, traditional, etc. but it didn't quite feel right because of how established it is to go out!
– jdjazz
49 mins ago
Yeah, and I think you did a good job doing it, but when I find an opportunity to be nitpicky, no force on this Earth can stop me! :)
– user45266
37 mins ago
add a comment |
The simple/traditional approach is for the chords to match the scales you're improvising over. You wouldn't improvise with C Lydian in your right hand and simultaneously play a CMaj11 chord--the F in your left hand would clash with the F♯ in your right hand. Similarly, if you improvise over the V7 chord using the G altered scale, you wouldn't simultaneously play a G9 chord--the A♭ in your right hand would clash with the A♮ in your left hand.
To your question "are modes in jazz primarily a melody thing?" the answer is: modes are simply fancy names for scales. These scales can be used to define the melody and the harmony. The straightforward approach is for those two things (melody and harmony) to agree with each other.
One small terminology note: just because you're using a mode to solo doesn't mean you're improvisation is "modal." The adjective "modal" usually refers to a style of composition that avoids traditional harmony, etc. Simply using a mode to construct an improvisation wouldn't qualify the solo as "modal."
answered 2 hours ago
jdjazzjdjazz
7,38421952
As an aside, if you want to break from the more traditional convention, you could play a left-hand chord that clashes with the right-hand improvisation.
– jdjazz
2 hours ago
Or you could play some melodic line way outside what your band is comping with, happens all the time. +1
– user45266
1 hour ago
1
@user45266, totally agree. I was trying to distinguish from those scenarios by using words like straightforward, simple, traditional, etc. but it didn't quite feel right because of how established it is to go out!
– jdjazz
49 mins ago
Yeah, and I think you did a good job doing it, but when I find an opportunity to be nitpicky, no force on this Earth can stop me! :)
– user45266
37 mins ago
add a comment |
The simple/traditional approach is for the chords to match the scales you're improvising over. You wouldn't improvise with C Lydian in your right hand and simultaneously play a CMaj11 chord--the F in your left hand would clash with the F♯ in your right hand. Similarly, if you improvise over the V7 chord using the G altered scale, you wouldn't simultaneously play a G9 chord--the A♭ in your right hand would clash with the A♮ in your left hand.
To your question "are modes in jazz primarily a melody thing?" the answer is: modes are simply fancy names for scales. These scales can be used to define the melody and the harmony. The straightforward approach is for those two things (melody and harmony) to agree with each other.
One small terminology note: just because you're using a mode to solo doesn't mean you're improvisation is "modal." The adjective "modal" usually refers to a style of composition that avoids traditional harmony, etc. Simply using a mode to construct an improvisation wouldn't qualify the solo as "modal."
answered 2 hours ago
jdjazzjdjazz
7,38421952
The simple/traditional approach is for the chords to match the scales you're improvising over. You wouldn't improvise with C Lydian in your right hand and simultaneously play a CMaj11 chord--the F in your left hand would clash with the F♯ in your right hand. Similarly, if you improvise over the V7 chord using the G altered scale, you wouldn't simultaneously play a G9 chord--the A♭ in your right hand would clash with the A♮ in your left hand.
To your question "are modes in jazz primarily a melody thing?" the answer is: modes are simply fancy names for scales. These scales can be used to define the melody and the harmony. The straightforward approach is for those two things (melody and harmony) to agree with each other.
One small terminology note: just because you're using a mode to solo doesn't mean you're improvisation is "modal." The adjective "modal" usually refers to a style of composition that avoids traditional harmony, etc. Simply using a mode to construct an improvisation wouldn't qualify the solo as "modal."
answered 2 hours ago
jdjazzjdjazz
7,38421952
answered 2 hours ago
jdjazzjdjazz
7,38421952
answered 2 hours ago
jdjazzjdjazz
7,38421952
answered 2 hours ago
jdjazzjdjazz
7,38421952
7,38421952
As an aside, if you want to break from the more traditional convention, you could play a left-hand chord that clashes with the right-hand improvisation.
– jdjazz
2 hours ago
Or you could play some melodic line way outside what your band is comping with, happens all the time. +1
– user45266
1 hour ago
1
@user45266, totally agree. I was trying to distinguish from those scenarios by using words like straightforward, simple, traditional, etc. but it didn't quite feel right because of how established it is to go out!
– jdjazz
49 mins ago
Yeah, and I think you did a good job doing it, but when I find an opportunity to be nitpicky, no force on this Earth can stop me! :)
– user45266
37 mins ago
add a comment |
As an aside, if you want to break from the more traditional convention, you could play a left-hand chord that clashes with the right-hand improvisation.
– jdjazz
2 hours ago
Or you could play some melodic line way outside what your band is comping with, happens all the time. +1
– user45266
1 hour ago
1
@user45266, totally agree. I was trying to distinguish from those scenarios by using words like straightforward, simple, traditional, etc. but it didn't quite feel right because of how established it is to go out!
– jdjazz
49 mins ago
Yeah, and I think you did a good job doing it, but when I find an opportunity to be nitpicky, no force on this Earth can stop me! :)
– user45266
37 mins ago
As an aside, if you want to break from the more traditional convention, you could play a left-hand chord that clashes with the right-hand improvisation.
– jdjazz
2 hours ago
As an aside, if you want to break from the more traditional convention, you could play a left-hand chord that clashes with the right-hand improvisation.
– jdjazz
2 hours ago
Or you could play some melodic line way outside what your band is comping with, happens all the time. +1
– user45266
1 hour ago
Or you could play some melodic line way outside what your band is comping with, happens all the time. +1
– user45266
1 hour ago
1
1
@user45266, totally agree. I was trying to distinguish from those scenarios by using words like straightforward, simple, traditional, etc. but it didn't quite feel right because of how established it is to go out!
– jdjazz
49 mins ago
@user45266, totally agree. I was trying to distinguish from those scenarios by using words like straightforward, simple, traditional, etc. but it didn't quite feel right because of how established it is to go out!
– jdjazz
49 mins ago
Yeah, and I think you did a good job doing it, but when I find an opportunity to be nitpicky, no force on this Earth can stop me! :)
– user45266
37 mins ago
Yeah, and I think you did a good job doing it, but when I find an opportunity to be nitpicky, no force on this Earth can stop me! :)
– user45266
37 mins ago
add a comment |
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To play in a mode is more than just playing the right notes. You need to make the root of the mode feel like home and that is the difference between playing in C major or D Dorian. Same notes but D sounds like home in one and C in the other
– b3ko
1 hour ago