Glossary of some important musical terms

MODAL JAZZ COMPOSlTlON G HARMONY

ach dominant 7th in mm. 2–4 is subsequently expandedwith the ii≤57–V or ii7–V7 progressions, thereby doubling the rate of harmonic rhythm. Inm. 2, then, A7 becomes Emin7 (≤5)–A7; in m. 3, G7 turns into Dmin7–G7; and, in m. 4,F7 expands into Cmin7–F7.Comparing the second half of each A section shows that the first A is harmonically openand ends on a ii 7–V7 in m. 8, while the second and the last A feature closed harmoniccadences on I in m. 16 and m. 32, respectively. The bridge in mm. 17–24 has a symmetricalphrase structure and slower harmonic rhythm, which redirects the harmony from I to IVin m. 19 and, then, to ≤VI in m. 23. These key areas are tonicized with local ii7–V7progressions. The choice of these tonal areas corroborates an interesting fact about theoverall tonality of bebop tunes with respect to jazz traditions. The subdominant key areahas always had strong blues underpinnings and the flat submediant was one of the fewchromatic regions that ragtime or early jazz tunes allowed in their harmonic structure.3

DIATONIC MODES

Chapter 7 introduces seven diatonic modes from the major scale and seven chromaticmodes from the melodic minor scale

In jazz, pentatonics represent a rich assortment of scales with a vast potential forimprovisation. They come in a variety of flavors, from the simple blues inflections addedto diatonic pentatonics popularized by Lester Young in the 1930s to the chromaticallyaltered five-note segments common in contemporary jazz styles

Diatonic Modes

Diatonic Modes

Diatonic Modes

Relative darkness and brightness of modes

Diatonic Modes