Jazz as a dancer is very unique and complicated form of music. All you need to do is look at the music notes as well as the interaction on paper to realize the incredible talent one must have to master. It’s amazing. I again am a choreographer/dancer and reading music 😂 is important but to know it as a jazz musician takes a genius.
Jazz evolved from a simple folk music. Although it has been made more complex, those roots remain at the core of any jazz musician. I imagine that would be true for dance as well. To dance or play jazz on a high level requires commitment and determination; to do so on the highest level requires something more, which I think could fairly be called genius.
@@chasesanborn well said. There is something within anyone who masters a often complex and creative subject. I believe passion is necessary. Passion and genius are rarely spoke together yet in my humble opinion are always associated.
Re Impressions. Morton Gould's Pavanne contains what MUST have been what Coltrane thought he was composing (a bit like Slominsky and Giant Steps). Not only the melody but the semitone shift too. And not only that, but the use of the original melody shifted AND the alternate 'B' melody. Its all there. The Bill Finnegan dance band version (Glenn Miller flip side to Little Brown Jug) apparently came out a few years before Morton Gould's own light orchestral arrangement. This tune was a big hit popular over a long time, even I remember it (in both versions) being played on UK radio in the early 1960s. Could Morton Gould be the secret connection between Glenn Miller and Modal Jazz?
Many students are confused by the serial nature of the modes. They ask "Why do all the modes sound the same?" The discussion in this video is the most obtuse possible and adds to this confusion. Easier to think of a mode as an extended arpeggio eg G7 (13) G B D F A C E spread out eg G A B C D E f G . One can construct any of the modes on any ground tone (bass note) ie D Dorian, A Dorian, F# Dorian, etc) To dwell on how the modes are derived from the major scale is beside the point for performance practice and adds to the confusion. And is probably not true historically. The various modes were originally regional scales. Hence the mode names Phrygian , Dorian, etc Even the major scale is also known as the Ionian mode.
That 'HOW YOU PLAY IS MORE IMPORTANTE THAN WHAT YOU PLAY' makes everything clearer! Thanks a lot Chase!
It's a truism which is often lost amidst the plethora of information about WHAT to play.
I played with Guido on nightcap it was a great band
Good buy from Jimmy Amaro ❤
Really golden information here
Glad you think so, and that you took the time to say so!
A lot of very useful information here…thank you!
Thanks for saying so!
Thank you, Chase.🌹🌹🌹🌹😎
And thank you for the flowers! :)
So clear. Thanks
Glad to hear that!
Jazz as a dancer is very unique and complicated form of music. All you need to do is look at the music notes as well as the interaction on paper to realize the incredible talent one must have to master. It’s amazing. I again am a choreographer/dancer and reading music 😂 is important but to know it as a jazz musician takes a genius.
Jazz evolved from a simple folk music. Although it has been made more complex, those roots remain at the core of any jazz musician. I imagine that would be true for dance as well. To dance or play jazz on a high level requires commitment and determination; to do so on the highest level requires something more, which I think could fairly be called genius.
@@chasesanborn well said. There is something within anyone who masters a often complex and creative subject. I believe passion is necessary. Passion and genius are rarely spoke together yet in my humble opinion are always associated.
@@gigicoogler Listeners don't want to hear what we know; they want to hear what we feel.
@@chasesanborn so true!
Re Impressions. Morton Gould's Pavanne contains what MUST have been what Coltrane thought he was composing (a bit like Slominsky and Giant Steps). Not only the melody but the semitone shift too. And not only that, but the use of the original melody shifted AND the alternate 'B' melody. Its all there.
The Bill Finnegan dance band version (Glenn Miller flip side to Little Brown Jug) apparently came out a few years before Morton Gould's own light orchestral arrangement. This tune was a big hit popular over a long time, even I remember it (in both versions) being played on UK radio in the early 1960s.
Could Morton Gould be the secret connection between Glenn Miller and Modal Jazz?
Secret connection indeed. Jazz sleuthing. :)
A very informative video (as is always the case). I must underline the generosity involved in its production (as always, must I underline moreover).
Thanks Jean. I'm glad you find it to be so!
Many students are confused by the serial nature of the modes. They ask "Why do all the modes sound the same?" The discussion in this video is the most obtuse possible and adds to this confusion. Easier to think of a mode as an extended arpeggio eg G7 (13) G B D F A C E spread out eg G A B C D E f G . One can construct any of the modes on any ground tone (bass note) ie D Dorian, A Dorian, F# Dorian, etc) To dwell on how the modes are derived from the major scale is beside the point for performance practice and adds to the confusion. And is probably not true historically. The various modes were originally regional scales. Hence the mode names Phrygian , Dorian, etc Even the major scale is also known as the Ionian mode.
I suggest watching episodes seven and eight on which this Q & A is based. ua-cam.com/video/jssKueFuR_E/v-deo.html