These questions about improvising on modal tunes were submitted my university students and KZitem audience in response to Episodes 7 and 8 in the Jazz Tactics playlist. A link to the playlist is below as well as time stamps for the individual questions.
If the questions and/or answers stimulate questions or comments of your own, I encourage you to weigh in and please remember to click the LIKE button if this video stimulates your thought process.
JAZZ TACTICS PLAYLIST
• Jazz Tactics
TIME STAMPS
00:00 Was modal jazz purposely conceived as an opposite to bebop?
00:37 What is the difference between a scale and a mode?
01:26 Why do you relate D Dorian to D major rather than C major, which contains the same notes?
03:50 How do you remember all the modes?
07:23 I know that the Ionian, Mixolydian and Dorian modes relate to the II V I progression. Are there other modes that jazz players use frequently?
08:35 Although we use the Dorian mode for Impressions and So What, couldn’t we use any of the modes relating to the key signatures of C and Db?
09:31 Does the interval of a tritone between the flat 3rd and natural 6th in the Dorian scale have any impact on why it’s used more often than the Aeolian scale?
10:27 If you want to specify a mode in the chord symbol, how do you do that?
10:47 If you see a minor chord symbol, how do you know which mode to use?
12:22 How do you determine the key signature of a modal tune?
13:02 Why doesn’t the key signature on the lead sheet change when the chord changes?
14:20 Is the form of a modal tune determined by the chord progression?
14:51 Does the melody of a modal tune exert less influence on the improvisation than the melody of a standard tune?
15:26 Is the ‘correct’ melody for Impressions the one where the B section is the same as the A section, or the Coltrane version where the melody is different?
16:09 Do jazz musicians ever simply call for a vamp on a mode instead of a specific modal tune?
16:54 I’ve found that one reason for avoiding what are termed ‘avoid notes’, for example the natural 4 on a dominant chord is because they give away the upcoming harmony. Is this less true in modal jazz where forward-moving harmony is not as relevant?
17:28 Does it make sense to imply a cadence like II V I within a single modal chord?
18:09 If minor chords imply the availability of related dominant chords, for example D-7 and G7, could you also use a G altered dominant scale?
18:41 Does the minimal appearance of chords in a dominant chord suggest a sparse melodic approach?
19:09 When you improvise on a chord progression, do you think of the modes associated with each chord?
20:00 Can bebop language be used on a modal tune?
20:40 Can you play outside the tonality on a modal tune?
21:12 Is it possible to play modally over a chord progression, meaning using one mode over multiple chords?
ABOUT THIS SERIES
This is the 24th video in the Jazz Tactics series, exploring elements of playing jazz music, especially improvisation, based on my book of the same name and a university course that I’ve taught for over thirty years. The sequential videos in this series will provide a solid foundation of understanding of the principles and practices of jazz improvisation, on both and aural and intellectual levels. Below are some suggestions to get you started:
Do You Speak Jazz? • YOU ALREADY KNOW HOW T...
What Makes Jazz Jazz? • TRADING FOURS WITH FRE...
Why I Can't Teach You Jazz • WHY I CAN'T TEACH YOU ...
What's So Great About Chet Baker? • TRADING FOURS WITH FRE...
Trading Fours With Freddie Hubbard • TRADING FOURS WITH FRE...
Improvising on Autumn Leaves • IMPROVISING ON AUTUMN ...
Improvising on Rhythm Changes • IMPROVISING ON RHYTHM ...
ABOUT THIS CHANNEL
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