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. 🤷♂️
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.
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!
@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!
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.
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.
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.
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.
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.
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.
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.
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 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 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.
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...
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?
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
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.”
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 ?
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.
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 🤓
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 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.
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.
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!
Thank you for this!
Lot to digest here but it lays out some skills on how to analyze these sheets better. Thanks!
Awesome! Thanks, Chris!
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!
Very enlightening. Thanks Jeremy.
My pleasure, Stuart!
@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!
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!
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.
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
ruclips.net/video/gMO9ojr9awU/видео.html
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.
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.
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'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!
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?
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.
Great vid! What software are you using to put the music onto the screen in realtime/as you film?
I feel like jazz musicians are perhaps just 10x more intelligent than the rest of us
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. 😜 )
Jeremy: “What is modal Jazz? 🤓”
Me: “Yes. 🤓 “
Btw why are some comments so mean?😢you are such a great teacher!🥺🥺😤🤩
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.
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.
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
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. 😂
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!
You are excellent! Where do I find the video on voicings that you mentioned?
I think it's this one: ruclips.net/video/T5KJ_VxJ7S8/видео.html
I'm a steel player. This is excellent. Thank you.
You're very welcome, Michael!
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!
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!
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.
I love digressions 😋
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. 😂
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...
I dig the specs, Teach!!!
Thanks, John! The better to see you with! 😉
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!
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
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
very good
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!
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!
Great!
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? 😀
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: ruclips.net/video/DlDwUMPY7Vc/видео.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?
Thanks 😊for the explanation.
You’re so welcome. Thanks for watching!!!
Love this! do you have a transcription for what you played on 16:00?
This is the best 251 exercise, indeed.
You got it - thanks, Quantum Ideas!
wow love love love i love ur way of teaching so much
One of your finest works. Thanks
Good video.
Why thank you!
Thanks Jeremy!
“Focus on color change” is an excellent Way to describe modal!
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.
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 🤓