In the 20th and 21st centuries, composers sometimes used the diatonic collection, but without making anyattempt to make a specific pitch sound like the the pitch center. Such examples are not tonal, nor are theymodal; instead, they are considered pandiatonic. Igor Stravinsky often wrote pandiatonic passages; manycan be heard throughout the opening of his ballet Petrushka

In modal jazz theory, there are 14 modes: seven diatonic and seven chromatic. Modes inmodal jazz typically function as independent scalar formations that are devoid of traditionaltonal relationships. For instance, a complete section of a tune might feature only a singlemodal scale (e.g. John Coltrane’s “Impressions” or McCoy Tyner’s “Passion Dance”).5In tonal jazz, however, modes exhibit similar functional behaviors comparable to thoseof four-, five-, or larger-part structures. In Chapter 8, diatonic and chromatic modes willbe combined and their tonal functional associations shown

Modal Jazz Improvisation & Harmony

In the third chapter, ‘Modes of experience: modal jazz and the authority of experience in Ishmael’s Reed’s Mumbo Jumbo, Morrison’s The Bluest Eye and Song of Solomon’, I examine different emphases in notions of ethnic identity that takes place in the middle of the twentieth century.

What is Modal Jazz?

Kind of Blueand the economy ofmodal jazz

Modal jazz rarely adheres strictly to the classical modes (Dorian, Phrygian, etc.), but it creates their flavour, or in some cases that of other non-diatonic scales, such as those of Spanish or Indian music

relatively undemanding by comparison with those based on chord progressions. Because it is free of frequent harmonic interruption it can more easily create an unhurried and meditative feeling. Many performances are based on a two-chord sequence or a drone. The absence of frequent chord changes alone is sometimes regarded as defining modal jazz

Modal Jazz

modal practices,