Italian (Modal) Jazz-Rock, from the early 1970s. Shares many characteristics with the classic music of The Soft Machine.
right hand | f# min. 7 | a min. 7 | f# min. 7 | d min. 7 |
---|---|---|---|---|
left hand / bass | B(5) | D(5) | B(5) | G(5) |
Each of those (right-hand) chords, can also be thought of as the root of the dorian mode (of that part -- independent of the bass root pitch).
In other words:
Dorian mode, rooted on, F# ; then, to : 'A' ; then, (back) to : F# ; then, down to : 'D'
However, the bass doesn't play those root pitches, but instead, pitches that are a Perfect-Fifth (P5th) lower
which can be alternately (also) thought of, in terms of being a Perfect-Fourth (P4th) higher / above (albeit 2 octave registers lower, in fact).
Play the i7 , ii7 , and : III7 chords of each dorian mode (tonal centre).
right hand | F# dorian | A dorian | F# dorian | D dorian |
---|---|---|---|---|
left hand / bass | B(5) | D(5) | B(5) | G(5) |
If the III7 chord was used, in each (right hand),
right hand | A Maj. 7 | C Maj. 7 | A Maj.7 | F Maj. 7 |
---|---|---|---|---|
left hand / bass | B(5) | D(5) | B(5) | G(5) |
Notice the (harmonic relationship -- interval between the two (root note) pitches - between each hand) off-set: of a whole-step.
draft #1 (PDF) -- in common time signature(s) -- basic chord(al relationships) PDF.
original source MuseScore file (.mscz)
On YouTube I made keyboard harmony instructional videos that explain, illustrate, and demonstrate this type of modal jazz harmony (chord structure).
Try this variation (simply change the off-set between the bass/l.h. and the right-hand-chords):
right hand | c# min. 7 | e min. 7 | c# min. 7 | a min. 7 |
---|---|---|---|---|
left hand / bass | B(5) | D(5) | B(5) | G(5) |
Try voicing those chords in the following inversions, to make it easy to switch between chords, more seamlessly:
f# min. 7 | (root position) | F# + A + C# + E |
to | ||
F Maj. 7 | (Root position) | F + A + C + E |
then: | ||
d min. 7 | (3rd inversion,
or 'F' Maj.7 |
E+F + A + C |
Next, it moves into (on keyboards -- Rhodes electric piano) quartal harmony , and then a prominent bass ostenato (riff).
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