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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.. Though exerting influence to the present, modal jazz was most popular in the 1950s and 1960s, as evidenced by the success of Miles Davis's 1958 composition "Milestones" and 1959 album Kind of Blue, and John Coltrane's quartet ...
Modal jazz is a development which began in the later 1950s which takes the mode, or musical scale, as the basis of musical structure and improvisation. Previously, a solo was meant to fit into a given chord progression, but with modal jazz, the soloist creates a
Modal jazz, as pioneered by Miles Davis, among others, is characterized by the use of modes, such as dorian modes, as the primary organizing element. Neo-bop jazz: Neo-bop jazz, notably associated with Wynton Marsalis, is a comparatively accessible, "retro" genre that emerged in the 1980s as a stylistic reaction against free jazz and jazz fusion.
1950s in jazz. By the end of the 1940s, the nervous energy and tension of bebop was replaced with a tendency towards calm and smoothness, with the sounds of cool jazz, which favoured long, linear melodic lines. It emerged in New York City, as a result of the mixture of the styles of predominantly white swing jazz musicians and predominantly ...
Bill Evans. William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who worked primarily as the leader of his trio. [2] His use of impressionist harmony, block chords, innovative chord voicings, and trademark rhythmically independent, "singing" melodic lines continue to influence jazz pianists today.
George Allen Russell (June 23, 1923 – July 27, 2009) was an American jazz pianist, composer, arranger and theorist. He is considered one of the first jazz musicians to contribute to general music theory with a theory of harmony based on jazz rather than European music, in his book Lydian Chromatic Concept of Tonal Organization (1953).
Russell's original six Lydian scales [1] The Lydian Chromatic Concept of Tonal Organization is a 1953 jazz music theory book written by George Russell. The book is the founding text of the Lydian Chromatic Concept (LCC), or Lydian Chromatic Theory (LCT). Russell's work postulates that all music is based on the tonal gravity of the Lydian mode.
In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system of the Notre-Dame school at the turn of the 12th century. In the mensural notation that emerged later, modus specifies the subdivision of the longa.