#modalic chords

[guitarguitarworld]

Modal Chords:Modal Chordal Harmony

Modal Chords: Harmony

CLICK SUBSCRIBE! Modal Chords: “Chords” from Transposed Mode [C as Root] Lesson/How to/Examples Please watch video above for detailed information and examples: Hi Guys, Moving on from our last blog on the Modal backing track, I have included another video [above] explanation regarding the modal chords/harmony that I employed. PDF MODAL CHORDS: pdf-modal-chordsmodal chords Download IF THIS…

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#aeolian #chord modes #chords from modes #Dorian #explained #fusion modal chord #how to #ionian #jazz mode chords #lesson #Locrian #Lydian #Mixolydian #modal chords #modal harmony #modalic chords #Phrygian #transposed modes

[legobiwan]

Esoteric thought for the day: the Super Paper Mario menu screen theme is textbook modal mixture (bIII, bVI, N6 chords) and I am already salivating at the idea of including this in future theory class curriculum.

#hello there #professor lego strikes again #i already managed to shove in a dimentio screenshot for a different class #amd was going to do legend of zelda.last semester which does modal mixture AND aug 6 chords but i ran out of time #im applying for some tenure track stuff and they will HEAR ABOUT these ideas #because i have multiple bones to pick with music theory education #anyway very esoteric rant but here we are #ancient grains yells at a cloud

[femmeterypolka]

i hope whoever made traditional music library dot co dot uk gets their shit slonked silly style tonight

#they literally have every banjo chord chart for g double c and g modal tuning #a lifesaver!

[gowns]

ok listen i have been exposed to a lot of music theory and a lot of it has flown over my head -- i understood major and minor and etc and how to play easy chords and how to sing a pitch and all that, but any time people started talking about the circle of fifths and modalities i spaced out. i found this video last week and i was like whoa WHOOAAAAAAA holy shit... i understand now. and i printed out a big color picture of the circle of fifths and put it by my piano.

#music #i recommend watching the whole thing because the first part is just basic review #but then it's like... the precise mathematical nature of music notation? and then i'm like-- #'wait hold on a second man' cat on the verge of tears

[retropopcult]

"Simple Kind of Life" is a song by American rock band No Doubt. Written by lead singer Gwen Stefani in late 1999 for the group's fourth album, Return of Saturn, the song contrasts Stefani's desire to settle down and start a family with fellow rocker Gavin Rossdale while still keeping her commitment to the band.

"Simple Kind of Life" was released as the album's first single for the holiday season of 1999. Peaking at number 38 on the Billboard Hot 100, #18 on the Adult Top 40 and number 14 on the Modern Rock Tracks chart.

The lyrics of "Simple Kind of Life" discuss Stefani's relationship with  Rossdale but also bandmate Tony Kanal whom she dated for seven years until he wanted to break up. She describes wanting to settle down, get married, and have children. In the final verse, she even dreams about how her life would be if there were a mistake in her birth control and she became pregnant.  But in the song she ultimately decides that settling down is just a fantasy for her since freedom and independence is more important to her. In real life, she would marry Rosdale just two years later and ultimately have three children with him.

The song was recorded with no rehearsals, a first for the band. Adrian Young's drum parts were mixed through low fidelity filters to get the feel of a lo-fi power ballad. It opens with a four-measure intro, which features the Dm9-Cmaj7 modal chord progression used for the song's three verses. After the third chorus comes a coda, which closes the song as Stefani repeats the phrase "a simple kind of life" ad libitum while the song fades. It received positive reviews from music critics, who noted the song's somber melody and raw but honest lyrics. Rolling Stone described it as being "at once grand, fragile and very, very sad".

#1990s #record #marriage #relationships #balance #wanting it all

[patricia-taxxon]

its so weird to have just one of your works have an entire viral life of its own outside of your normal sphere, like to the point where it doesn't feel like you made it anymore.

I know the weird sequence of events that led to this happening too, like twitter animator kekeflipnote was looking for royalty free music to use & i cautiously offered my latest album The Best Day as a candidate, and this unrelated person who follows kekeflipnote probably ended up seeing it & made this without any direct interaction with me, and then it got fucking 29 million views because i think it went viral on 3 separate occasions? Like firstly just on its own from the animation, then it had a 2nd life as a friday night funkin song, and then it had a 3rd life on tiktok because someone freebooted it onto spotify which meant they could use it in their vids.

I don't want to fall into the trap of bitterly hating my biggest hit, but like... i spent so little time on it compared to how long it's been enduring as a viral youtube animation, i may as well have not made it. sometimes i check back on my upload of sd_bbb to try and convince myself the song's mine, doesn't really work. odd.

I definitely recognize good things in it at the same time though, like it's incredibly catchy, has this weird chord progression made entirely out of mediant harmonic motion, some modal interchange in the melody that NONE of the remixes manage to accurately transcribe, "fix that old piano and the birds will fall apart" is one of my best lyrics lmao. It's at least better than fucking Wavetable.

#cilantromixture #eeeaaaooo #patty taxxon self analysis #Youtube

[fugengulsen]

MISSISSIPPI FRED McDOWELL and young BONNIE RAITT in the 1960s. McDowell was the powerhouse slide guitarist and singer who the Rolling Stones based their "You Got To Move" on. Fred took Bonnie Raitt under his wing and taught her about playing slide guitar. Fred's sound was very modal, mostly based in one chord and a deep groove, positively locomotive in nature. Many of his songs accelerated to a frenzied rhythm, like a train picking up steam. He was well known in his Como, Mississippi neighborhood as "Shake 'Em," after his popular piece, "Shake 'Em On Down." The music included blues and gospel, all from the same wellspring. He is one of the best blues musicians of all time. Bonnie Raitt, of course, went on to considerable fame herself, and is still touring the world with her wonderful voice and guitars.

#youtube

[soop-musical-fool]

Ok I said I would make a pin full of music so here it is

First off, I mentioned KNOWER. It's a long project that started a really long time ago, but their best stuff is probably coming out like right now. As in, they are just about to release a new album, KNOWER FOREVER. The singles on it are incredible, like I'm The President just comes right out the gate with the fattest walkdown I've ever heard from a horn section. The B section makes it feel like I'm enjoying a song like I would a multiple-course meal. Then Crash The Car just transfixes you. Yes, yes, you should listen to those, but don't neglect the fire they put out in 2017 because you owe it to yourself to watch the live sesh of Overtime:

Oh god this post is gonna make viewing my blog super annoying isn't it

Anyway the next thing I gotta mention is Vulfpeck. These guys are famous for scamming Spotify, basically. They released an album full of 30-second tracks of pure silence, just absolutely nothing, titled Sleepify. They got online and said "Yo guys, help us raise money for a free concert by listening to this on loop while you sleep." What they were actually doing was exposing a loophole in the way Spotify calculated royalties, and before they could pull the album (citing "content policy violations," of course), Vulfpeck had already bagged around $20,000, so they put on the completely admission-free Sleepify Tour, which was incredibly fucking based of them.

Vulf went on to become several spin-off projects, all entirely independently released and full of some of the stankiest funk fusion that I cannot stop listening to.

My favorite of these projects, The Fearless Flyers, is headed by Cory Wong, with a guitar idol of mine for 5+ years Mark Lettieri and of course the government subsidized active bass of Joe Dart, but the keystone of the group is no doubt Nate Smith on drums. Dude makes a three-piece set onstage sound like a full kit.

Like just look at what they can do with the added power of sax:

And yeah, I could just talk about those guys, but let's get weirder.

I'm talking modal. The kind of stuff that makes my choir-trained mother cringe inward at the dissonance. Let's talk about the crunchiest, most feral fucking harmonies and keyboard solos that make you question what you thought you knew about chord progressions and key centers.

Obviously anyone super into this stuff will have already heard of Jacob Collier, so I won't show him. But THIS:

I listened to this the first time and it was just.. too much. I put it in its own specific playlist titled "very complex shit" immediately. When I went back to it, enough time had passed and I had learned enough that after way too many listens I can actually follow along with this insanity. This track blew my fucking mind, dude. I have never heard a chorus use so many of the 12 chromatic notes and still sound heavenly. The groove changes add so much texture. The flute solo goes off way too hard. The slower final section is just disgusting syncopation when the drums come back in. Everything about it is incredible, and this album came out in 2007. I am staring back at years of my life I spent not listening to this and ruminating my lack of music theory knowledge. And when I wanted to see if some kind transcribing jazz grad student like June Lee had uploaded anything of System, I found a 2020 reboot with 24 musicians playing System for over twice its original runtime, and guess who did the showstopping final solo??

JACOB FUCKING COLLIER.

Look him up if you don't know. The other musicians I obsess over inspire me. This guy makes me want to quit.

#196 #r196 #rule #music #jazz funk #modal jazz #free jazz #jacob collier #music nerd #infodump #like massive autistic infodump #sorry again for this #oh btw #did you notice the four grammys behind him? #yeah

[tangledbea]

Healing incantation is actually in a minor key! It has some tonic major chords on ‘glow’ and ‘shine’ (I think the modal ambiguity is to help it sound more mystical/otherworldly) but then these chords are changed to minor in the decay incantation :)

I know it's in a minor key, but the Reverse Incantation is more in a minor key, if that makes sense? lol Like, the Reverse Incantation's register has more sharps/flats as compared.

But again, I know I don't know much about music, and you clearly know more than me. But let it be known that I already knew the Healing Incantation is in a minor key. And the original ask is whether or not they're in the same key, and the answer to that is still "no".

#Tangled #Tangled the Series #TTS #Healing Incantation #Reverse Incantation #Songs #Answered

[guitarguitarworld]

Jazz Fusion Chords:How to create them from scales

CLICK SUBSCRIBE! Hi Guys, Today, a look at how to create colourful and interesting jazz/fusion chords: Because, we are dealing with jazz/fusion we will manipulate a scale in modal form. This will be C Mixolydian: Now, let’s add one note above each note of the mode and create 3rds. [Here we can hear the mode in double stops]. Now, we will add another note a 5th above the root and create…

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#chord creation #chord scales #chord sequences #chords #creating chords #dorian chords #Download #Examples #explained #flat 5ths #free pdf #fusion #fusion guitar #guitar #guitar chord scale #harmony jazz #how to #jazz #jazz fusion #jazz guitar #jazz modes #lesson #Major 3rds #melodic minor #mixolydian chords #modal chords #music #music notation #music tab #quartal harmony

[leonardcohenofficial]

@breha @nelson-riddle-me-this i’m going to answer the two of these questions in one because i think they really go together (also, please take these explanations with a grain of salt because my theory is super rusty and i was never really good at it in the first place; also apologies if you already know this but typing this all out was a good refresher for me)

the way i learned the main difference between bebop/hard bop and modal jazz is the emphasis on tonality vs. modality to construct harmonies. bop utilizes repeated chord progressions with more focus given to functional harmonies; modal jazz utilizes entire modes (often staying in one mode the entire time) which allows use of all seven notes to create harmonies which often don’t resolve (even though there’s still a tonal center). chord changes in bop also often occur at a faster tempo than modulations in modal jazz (if there are any modulations at all; for example, john coltrane’s “india” is an extended vamp in G mixolydian)

trane’s impressions is one of my fave albums of his; miles davis’s kind of blue is probably the most popular example of the genre; other good tracks include “cantaloupe island” by herbie hancock, “afrique” by art blakey and the jazz messengers, “glass enclosure” by bud powell, and pretty much everything trane was doing with the classic quartet between 1960 and 1965

#sorry this is a long answer to two short questions lmao #but also if this is a poor explanation / @ drew since you probably know your theory better than i please let me know if i messed this up 😂 #breha #nelson-riddle-me-this

[dustedmagazine]

Reverso — Shooting Star-Étoile Filante (self-released)

On previous recordings, Reverso has explored the music of French composers Gabriel Fauré and Maurice Ravel, linchpins of the early 20th century classical repertoire. Here, the trio of trombonist Ryan Keberle, pianist Frank Woeste, and cellist Vincent Courtois are inspired by another French composer, Lili Boulanger (1893-1918), the short-lived but prodigiously talented artist who was the first female to win the Prix de Rome. Such was the grief of her sister Nadia that she gave up her own promising composition career, devoting herself to pedagogy, a teacher to many Europeans and a raft of American expats. Reverso titles the recording Shooting Star as an acknowledgement of Lili’s extraordinary gifts. While the composer would likely have heard little jazz, her work serves as an excellent starting point for the original tunes written in response to it by Reverso. One wonders about balance issues a trio with this complement might encounter, but it never seems to be an issue, with Reverso careful to make every note heard.

“La Muse '' opens the album with liquid ostinatos from Woeste and legato melodies traded between Keberly and Courtois. “Obstination '' has a syncopated Iberian cast that recalls the craze for Spanish traditional music among the Impressionists. The solos use distinct registers, with Courtois flying high and Keberle playing resonant pedal tones. Woeste’s solo is a modal post-bop excursion that celebrates the off-kilter rhythms of the piece. Likewise, “Resilience” explores rhythmic variety, with alternations between quick polyrhythms and solos that vary it. A slow tune serves as an overarching motif. There is a bridge where small, repetitive segments take over before a return to the opening material, Keberle playing the main tune in octaves with Courtois.

The “Nocturne” is a venerable form, usually for solo piano. Reverso captures the mood with sculpted delicacy. A repeated tenor note in the piano underscores a chromatic bass-line alongside melancholy chords, as well as corruscating melodies between trombone and cello. Woeste brings out a filigreed soprano register melody in the bridge before returning to harmonies from the opening. Doubling of the melody by Keberle and Courtois gives way to another varied duet between them, culminating in a high trombone cry and a quick outro of repeated passagework. “Ma Jolie” has a bluesy trombone solo that is repeated with the cello playing liberal slides. The central section is led by Woeste, playing a zesty bit of cabaret music. Keberly returns to his solo while Courtois plays a pizzicato bass-line. The piano drops in with tasty harmonic fills. The quick cabaret music returns, and the piano and cello provide a sinuous take on the main tune to close.

“En Avant” deftly channels the texture and melodic approach of Impressionism, a style that, while not encompassing, appeared in Lili’s music. Courtois’s solo features Eastern sliding tone. Gamelan and other non-Western artists fascinated French musicians, notably Debussy, at the 1889 Paris Exhibition, and they continued to incorporate its signatures for decades. Keberle’s solo, on the other hand, is a more raucous affair, and Woeste plays dexterous small cells and a repeated stepwise progression. The close returns to referencing Impressionism and ends with halting utterances.

“Requiem” is a touching memento mori for Lili, with a haunting minor key melody that is deftly varied in its doublings. “Shine” too has a melancholy cast. However, the somber mood doesn’t prevail. “Lili’s Blues” imagines an introduction of Lili to “Le Jazz Hot,” with a plethora of glissandos and rollicking swing.

The recording closes with “Dernier Moteur” (“The Final Action”) in which bucolic riffs and mysterious, angular melodies are played by Woeste, Courtois adds a sumptuous solo, and Keberly provides countermelodies with slow glissandos that distress the crispness of the rest of the proceedings. A denouement is completed surprisingly, with the piano simply stopping to conclude the piece.

Creating “new standards” of early twentieth century music would be a far less imaginative choice than the approach taken on Shooting Star, where Lili Boulanger’s biography is as much an inspiration as her music. Reverso inhabits a musical space both of homage and innovation.

Christian Carey

#reverso #shooting star etoile filante #christian carey #albumreview #dusted magazine #ryan keberle #jazz #chamber jazz #Frank Woeste #Vincent Courtois #Lili Boulanger

[sonicmusicmusings]

Hey, gang! Let's move away from the rock sound, and back into some very 00's techno inspired flavors...

I keep thinking of the "Metropolis" track from Spyro 2 whenever I hear this, for some reason. It evokes the same kind of vibe. There is a very vague tropical feeling evoked in some of the auxiliary synths in the A section. I think it's because it sounds similar to steel drums. The B section is a modal groove that sits on one chord--when the chords don't move the song along, everything else has to! The focus becomes on the bass and drums, the latter being moved to the left and right sound spaces, while the bass sits right in the middle. Everything moves front and center when the A section comes back in, with crunching guitars and swirling sounds that bring the energy right back.

#theme of dolphin resort #sonic free riders #sonic the hedgehog #sonic #music

[arrowcollarmen]

I love you songs in weird time signatures I love you modal songs I love you songs with weird and unconventional instruments I love you songs with weird chords and chord progressions and unexpected key changes I love you songs with nonsensical lyrics with weird words I love you weird music.

#I know this format is overdone but I need to express my thoughts

[mywifeleftme]

314: Manu Dibango // O Boso

O Boso Manu Dibango 1972, London Records

In 2014, a Discogs user who goes by the handle nyuorican wrote on the page for Manu Dibango's O Boso/Soul Makossa, “Such an amazing album, musically it deserves to be like a $500 album easily, we're so lucky a lot were pressed up and kept circulating.” As criticism it’s not making Craig Jenkins sweat or anything, but it’ll probably be a more decisive assessment for anyone curious about Afro-jazz/funk of whether to listen than any of my blather. Original copies of stuff this good in this genre from this region almost invariably costs the same as a dog bred like a Spanish Habsburg, but thanks to the worldwide success of its pioneering single “Soul Makossa” this shouldn’t run you much more than $20. That’s a steal for music that grooves like this does.

Dibango wrote and arranged everything here and, as his note on the back cover makes explicit, his goal is to pay tribute to the common African roots of contemporary global Black music (jazz, soul, calypso, samba, etc.) via fusion. The Cameroonian sax giant surrounds himself with a crack band of African, Caribbean, and French jazz players, and the sheer variety of skills they bring to the table gives him great latitude to explore. The chords of “Dangwa” have the joyous lilt of African dance music but the bassline could be an R&B banger, while Dibango’s freaky sax runs are straight modal jazz. “Hibiscus” is soul jazz that would make Roy Ayers proud, Dibango’s horn blowing a lonely mating call while the casually funky electric piano, congos, and wacka-wacka guitar sketch an image of a hot city night after the clubs let out.

Of course, it’s “Soul Makossa,” an emissary of the makossa sound of Cameroon that predicts the disco wave, that towers over the rest in terms of influence, and it’s difficult to imagine how novel its minimalist percussive strut, echoing Duala-language ad libs, and deluxe horn hits must’ve sounded in the era. It’s one of those records where you can hear a bit of everything that was to come in Black music, from Chic to Kurtis Blow to Prince—partially because it’s been so frequently sampled that it literally is a bit of everything that was to come in Black music. But don’t sleep on opener “New Bell” either, a less hooky track in the same general mold, but one that rolls extremely deep.

314/365

#manu dibango #cameroon #cameroonian music #central africa #central african music #afro jazz #fusion jazz #jazz fusion #soul makossa #soul jazz #saxophone #music review #vinyl record #'70s music #african music

[sibyl-of-space]

Well this is it: the last piece of music I'll write for grad school. Never mind that I'm going to record some VGM covers on campus in a couple weeks, that's for fun, not for a grade.

The assignment was to write a theme and variations for piano, drawing from various practices we have studied. Since it's the last thing I wrote for school I decided to lean less into the particulars of the assignment and more into writing something that was fun and that I like. And I'm glad I did, because I do like it.

Theme: spooky waltz (I love spooky waltzes)

Variation I: bluesy

Variation II: 12-tone weirdness

Variation III: modal mixture (very loosely based on Debussy but mostly just me writing chords I liked)

Variation IV: just used this as an excuse to write another fugue

I want to make a more complete version of this eventually with a fuller orchestration, but I'm still very happy with the composition so I threw a mockup together to share. And with this.... what the fuck, I'm done???

#i kind of want to make an album of the kinda weird stuff i wrote for this class #i need to figure out how to put together all the music i wrote in school because i wrote a lot of it #but first: i got a demo of amadeus to finish and that is my biggest priority #my audio shit #music composition #im technically not done because i have a makeup final on monday but that is gonna be a joke so im not even counting it #but if we want to be really nitpicky i will be done tomorrow