>>64073431
Who's this feet seat?

>>64073431
>second toe longer than the first toe
dropped

>>64073431
Imagine worshipping her feet and licking them clean like a good little BOY...

>>64073431

modes are just different types of scales, sort of how you can make a major scale and a minor scale out of the same notes (relative minors are always 3 steps below their relative major)

so a C Major scale is like
C D E F G A B C

but if you start with A and make a scale (using the same key), you get

A B C D E F G A

you can start on any note and make a different modal scale. the Dorian mode would be

D E F G A B C D - which is almost the same as a minor scale but with a major 6th instead of a minor 6th, so it gives it a sort of mystical sound.

another popular one is mixolydian which starts on the 5th, so

G A B C D E F G - which is almost the same as a major scale but with a flat 7th

>>64074181
/thread

This is the easiest way to explainit

>>64074181
The main thing I don't understand is how the usage of modes in modal jazz comes to play with this:

>Though the term comes from the use of the pitches of particular modes (or scales) in the creation of solos, modal jazz compositions or accompaniments may only or additionally make use of the following techniques:[2][not in citation given]

>slow-moving harmonic rhythm, where single >chords may last four to sixteen or more measures
>pedal points[3] and drones
>absent or suppressed standard functional chord >progressions
>quartal harmonies or melodies
>polytonality

>>64073657
Can you imagine sitting in an empty subway car across from her? Just lying there with her dirty bare feet, downing a beer while taking up an entire bench. Her sight disgusts you and just being so close to some nutjob in the middle of the night makes you feel uncomfortable. You try your your best not to stare at her but she knows you're looking at her and she likes it. She knows she's intimidating you. You try focusing at the empty row of seats beside her but yet you keep trying to catch a glimpse of the "lady" right in front of you.

Suddenly you hear a crunch.

As you turn around to look you're hit right in face with the empty can.

You stare at her for a short while in shock but before you have time to react she calmly says:

"Pick it up."

You automatically hunch over to grab the squashed green can now lying between your shoes before you process the events that just happened and the humiliation of the entire situation finally hits you as you grab it. When you look back at her you see that her slight grin has turned into a broad smile. She knows exactly how frightened and humiliated you really are.

"Good boy."

She signals to her empty hand and you try giving her the can but she stretches her leg and filthy sole forwards and stops you.

"Lick."

>>64075321
Because when jazz musicians improvise over music with the characteristics you listed, they often base their melodies around the modal scales like in >>64074181 rather than thinking in terms of "making the changes" as jazz musicians usually did with bop-influenced music.

>>64076323
That makes lot of sense, thanks anon

>>64075321
Alright. I apologize for all these plebs that apparently don't play modal jazz. First off, these examples >>64074181 are pretty much the opposite of what makes a jazz progression "modal". Traditional progressions always make chord changes within a key, and when they do modulate, it’s to a related keys; whereas modal progressions rely on making drastic shifts between keys.

For non-modal jazz, look at Blue Bossa. The first five chords stick to C minor, then the next three to Db major, then it returns to C minor. Look at the notes of each key:
C D Eb F G Ab Bb
Db Eb F Gd Ab Bb C
Only two notes are different, so there isn't much of a shift that your brain has to make to follow along. It’s a pretty consonant progression.

For modal jazz, look at So What. There is no real “chord progression”, only a modulation from D minor:
D E F G A Bb C
to Eb minor:
Eb F Gb Ab Bb Cb Db
and back. Completely different key, and the shift consequently sounds “weird”, which also mandates a different approach to soloing.

>>64077960
What are some places to learn more about jazz theory?

>>64078184
I don't know a whole lot myself, pretty much just what my songwriting partner has shown me, and what I've adapted from classical music appreciation. Afaik, that guy learned from his guitar teacher.