Modal jazz is jazz that makes use of musical modes often modulating among them to accompany the chords instead of relying on one tonal center used across the piece. Although precedents exist, modal jazz was crystallized as a theory by composer George Russell in his 1953 book Lydian Chromatic Concept of Tonal Organization.
Pages in category "Modal jazz albums" The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes ().
El jazz modal es un término que se usa para definir un concepto compositivo e improvisatorio dentro del jazz, donde prevalece la gravedad vertical de la armonía. También se refiere a la época del jazz en donde se origina esta corriente musical, a fines de la década de 1950.
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Pages in category "Modal jazz" This category contains only the following page. This list may not reflect recent changes ().
As for the "genre" issue, the usage on Wikipedia is unfortunately the colloquial one (jazz, classical, punk rock) not the academic one (jazz standard, string quartet, EP), but in any case "Modal jazz" is not a "genre" (style, school or genre).
Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation, as did free jazz, which explored playing without regular meter, beat and formal structures.
Jazz modal é um dos estilos do jazz, assim denominado por utilizar o modo, em vez da progressão de acordes para a harmonia.. Surgiu na segunda metade do século XX e sua base conceitual está contida no livro Lydian Chromatic Concept of Tonal Organization - The art and science of tonal gravity (), do compositor e teórico musical George Russell .
Modal bandwidth, in the discipline of telecommunications, refers to the signalling rate per distance unit Modal haplotype, an ancestral haplotype derived from the DNA test results of a specific group of people Modal jazz, jazz that uses musical modes rather than chord progressions as a harmonic framework
Broadly, the genre refers to a number of post-war jazz styles employing a more subdued approach than that found in other contemporaneous jazz idioms. As Paul Tanner , Maurice Gerow, and David Megill suggest, "the tonal sonorities of these conservative players could be compared to pastel colors, while the solos of [Dizzy] Gillespie and his followers could be compared to fiery red colors."
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