Modal Harmony

It bugs me when people try to analyze jazz (Bill Evans).

Bill Evans allegedly said: “It bugs me when people try to analyze jazz as an intellectual theorem. It’s not. It’s feeling.” Isn’t this at odds with his career rich in theoretical innovations and complexities? #

Bill Evans’ statement that “It bugs me when people try to analyze jazz as an intellectual theorem. It’s not. It’s feeling,” might initially seem at odds with his career, which was indeed rich in theoretical innovations and complexities. However, a closer examination reveals a deeper harmony between his words and his musical philosophy.

Contextualizing the Statement #

Evans’ statement can be understood as a reaction against a purely academic or detached analysis of jazz, which might strip the music of its emotional and expressive essence. Jazz, at its core, is an art form that thrives on spontaneity, improvisation, and emotional communication. By emphasizing “feeling,” Evans underscores the importance of the intuitive and emotional aspects of jazz performance, which are often undervalued by overly technical or theoretical analyses.

Evans’ Theoretical Contributions #

Despite his emphasis on feeling, Evans’ contributions to jazz are undeniably sophisticated and theoretically rich:

Harmonic Innovations: Evans is renowned for his advanced harmonic sensibilities. His use of modal harmony, complex chord voicings, and reharmonization techniques has had a profound impact on jazz harmony. His approach often involved the use of quartal harmonies and intricate chord substitutions, which expanded the harmonic vocabulary of jazz.
Rhythmic Complexity: Evans’ rhythmic approach, particularly his use of polyrhythms and syncopation, added layers of complexity to his performances. His rhythmic interplay with other musicians, especially in his trio settings, demonstrated a deep understanding of rhythmic structure and interaction.
Melodic Development: Evans’ solos are characterized by their lyrical and thematic development. His ability to construct cohesive and narrative improvisations showcases a blend of intellectual rigor and expressive depth.

Reconciliation of Feeling and Theory #

Evans’ career exemplifies the integration of intellectual and emotional elements in jazz. His theoretical innovations did not exist in a vacuum; they were always in service of a deeper musical expression. For Evans, the purpose of theoretical knowledge was to enhance the expressive potential of the music. This is evident in his own playing, where technical mastery and emotional depth are seamlessly intertwined.

Influences and Philosophy #

Evans was influenced by a wide range of musical traditions and intellectual pursuits. His classical training provided him with a solid technical foundation, but his approach to jazz was always deeply personal and emotionally driven. He often spoke about the importance of introspection and personal expression in music, reflecting a belief that true artistry transcends mere technical proficiency.

In summary, Bill Evans’ statement about jazz being about “feeling” rather than an “intellectual theorem” highlights the necessity of balancing technical expertise with emotional expression. His career, rich in theoretical and technical innovations, demonstrates that these elements are not mutually exclusive but rather complementary. Evans’ genius lay in his ability to use complex theoretical concepts to create deeply moving and emotionally resonant music, thus bridging the gap between intellect and feeling in jazz.

Bill Evans’ innovations in modal harmony and his collaboration with Miles Davis are pivotal to understanding the evolution of jazz in the late 1950s and early 1960s. His contributions significantly influenced the direction of modern jazz, particularly through the landmark album “Kind of Blue.”

Modal jazz emphasizes scales (or modes) rather than chord progressions as the primary basis for improvisation. This approach contrasts with the traditional bebop style, which relied heavily on rapid chord changes and complex harmonic progressions.

Key Innovations #

Use of Modes:

Evans was instrumental in popularizing the use of modes in jazz. Modes are scales derived from the diatonic scales but with different tonal centers. For example, the Dorian mode (D-E-F-G-A-B-C) is derived from the C major scale but starts on D. By using modes, musicians could explore new melodic and harmonic possibilities that were less confined by the constraints of traditional chord progressions.

Harmonic Simplicity and Space:

Modal harmony often involves fewer chord changes, which allows for a greater focus on melody and individual expression. Evans utilized this simplicity to create spacious, open harmonic textures that provided a wide canvas for improvisation.

Chord Voicings:

Evans’ chord voicings were innovative, often using quartal harmonies (chords built on fourths rather than thirds) and cluster chords (closely spaced notes). These voicings contributed to a more modern, ambiguous harmonic sound that was well-suited to modal jazz.

Pedal Points:

Evans frequently used pedal points, sustained or repeated notes around which harmonic movement occurs. This technique helped to create a sense of grounding while allowing for harmonic exploration above the pedal note.

Collaboration with Miles Davis

Bill Evans’ collaboration with Miles Davis, particularly on the album “Kind of Blue,” is one of the most celebrated in jazz history. Evans played a crucial role in shaping the modal approach that defined the album.

Key Aspects of the Collaboration #

Conceptual Foundation:

Miles Davis was interested in exploring modal jazz, and he found a kindred spirit in Bill Evans, whose background in classical music and interest in modes made him an ideal collaborator. Evans’ understanding of modal harmony helped to articulate and refine Davis’ conceptual vision for the album. Compositional Contributions:

Evans co-wrote “Blue in Green” and “Flamenco Sketches” for “Kind of Blue.” His compositional style, characterized by a lyrical and introspective quality, contributed to the overall mood and aesthetic of the album.

“Flamenco Sketches,” in particular, is a quintessential example of modal composition, providing a series of modal frameworks for improvisation rather than a fixed chord progression.

Influence on Band Dynamics:

Evans’ playing style influenced the overall sound of the Davis sextet. His sensitive touch and intricate voicings created a harmonic and textural richness that complemented the contributions of other band members, including John Coltrane, Cannonball Adderley, and Paul Chambers. Evans’ introspective and melodic approach provided a contrast to Davis’ more assertive style, creating a dynamic interplay that enriched the music.

Legacy of “Kind of Blue”:

“Kind of Blue” is often cited as one of the greatest jazz albums of all time, and its modal approach had a lasting impact on jazz. The album’s success helped to popularize modal jazz and demonstrated the creative potential of this new harmonic approach.

Bill Evans’ innovations in modal harmony and his collaboration with Miles Davis on “Kind of Blue” represent a watershed moment in the history of jazz. By emphasizing modes and creating open, spacious harmonic environments, Evans facilitated a shift away from the complex chord changes of bebop towards a more melodic and exploratory approach to improvisation. His work with Davis not only showcased his own brilliance but also helped to usher in a new era of jazz that continues to influence musicians to this day.

Modal harmony often involves fewer chord changes because its focus is on creating a sustained harmonic environment that allows for greater melodic freedom and exploration. This approach contrasts with the more traditional harmonic progressions of bebop and earlier jazz styles, which rely on frequent chord changes to drive the musical narrative. Here are several reasons why modal harmony typically involves fewer chord changes:

Emphasis on Modes #

Static Harmonic Foundation:

Modal jazz uses modes (scales) as the basis for improvisation. Each mode provides a specific set of notes and a unique tonal color. By staying within a mode for an extended period, musicians can delve deeply into its nuances and possibilities.

Extended Exploration:

Fewer chord changes mean that a single mode can be explored more thoroughly. This allows improvisers to focus on melodic development and expression within a consistent harmonic framework, rather than constantly adapting to new chords.

Melodic Focus #

Freedom of Expression:

With fewer harmonic shifts, musicians can develop longer, more cohesive melodic lines. This freedom supports a more lyrical and thematic approach to improvisation, encouraging players to explore variations and motifs within the mode.

Reduction of Constraints:

Traditional chord progressions can impose constraints on melodic choices. Modal harmony reduces these constraints, providing a more open canvas for creativity. Musicians can emphasize different notes, create tension and release, and explore the mode’s full range without the pressure of constant harmonic movement.

Harmonic Ambiguity #

Ambiguous Tonality:

Modal harmony often lacks the strong sense of tonal resolution found in functional harmony. This ambiguity creates a more open-ended soundscape, where the emphasis is on the overall mood and atmosphere rather than on harmonic direction and resolution.

Sustained Tension:

By minimizing chord changes, modal jazz can sustain a particular emotional or tonal tension for longer periods. This can lead to a more meditative or introspective quality in the music, as heard in many of Bill Evans’ and Miles Davis’ modal compositions. Interaction and Interplay

Enhanced Interaction:

Fewer chord changes allow for greater interaction and interplay between musicians. Without the need to constantly navigate new harmonies, players can listen more closely to each other and respond more dynamically, creating a more cohesive group sound.

Focus on Rhythm and Dynamics:

With a stable harmonic backdrop, musicians can shift their focus to other elements of music, such as rhythm, dynamics, and texture. This can lead to more innovative and varied performances, as musicians explore different ways to shape the music within a single mode.

Examples in Practice #

“So What” (Miles Davis, “Kind of Blue”): This piece is based on the Dorian mode and features just two chords (D minor and E-flat minor) that alternate throughout the piece. The minimal chord changes allow for extensive modal exploration and interaction between the musicians.

“Impressions” (John Coltrane): Similar to “So What,” this composition is built on a two-chord vamp, allowing Coltrane and his bandmates to explore the modal landscape extensively.

The use of fewer chord changes in modal harmony is a deliberate choice to prioritize melodic exploration, emotional expression, and musical interaction. By providing a stable harmonic framework, modal jazz allows musicians to focus on the nuances of melody, rhythm, and dynamics, leading to a richer and more immersive listening experience. This approach, championed by artists like Bill Evans and Miles Davis, has left a lasting impact on the evolution of jazz, opening up new possibilities for creative expression.

“Freddy Freeloader” (“Kind of Blue”, 1959), pastiche:

Modal Harmony #