Tag Archives: modal jazz

Herbie Hancock – This is What Modal Jazz Really is

When You think about Modal Jazz then usually you think about playing on one chord or vamp using the same sound all the time. That is not how Herbie Hancock approaches it in this solo on the Wayne Shorter song Witchhunt off the Speak No Evil album. This Herbie Hancock Lesson breaks down a lot of great surprising rhythms and melodies, moving in and out of the tonality, and adding some Atonal Chromatic ideas as well.

To me, this is one of the greatest Herbie Solos I know, and also a fantastic example of how to play medium swing and play some fantastic rhythmical ideas.

Content:

0:00 Intro

0:09 The Ultimate Modal Solo

0:40 Speak No Evil – 1964

1:14 Four & More + My Funny Valentine

1:20 Example #1

1:32 Shifting Sus4 motifs

2:02 Breaking Down the melodies

2:12 Quartal Arpeggios and Modal Jazz

3:19 Example #1 Slow

3:33 Build up of the phrases

3:56 Witchhunt Analysis – a Minor Blues

4:36 Example #2

4:42 Slow Progressions – Modal

5:22 Super-imposed Altered dom7th

6:23 Example #2 Slow

6:30 Example #3

6:37 Chromatic Melodies – Leading notes

7:10 Chromatic Melodies – Atonal ideas

8:21 Example #3 Slow

8:43 Example #4

8:50 Back to Jazz! Tonal Minor

9:12 Medium Swing? The most difficult tempo in Jazz?

10:14 Example #4 Slow

10:25 Like The Video? Check out My Patreon Page!

Check out one of my other Herbie Hancock Lessons:

The amount of notes and colors that you can add to chords on the piano is always making guitar players jealous. But in this Herbie Hancock Guitar Lesson, I am going to take the Herbie Hancock Voicing for an m11 chord and show how you can transform it into a great arpeggio with a huge range and a lot of nice colors.

Herbie Hancock Voicing = Awesome Huge Arpeggio on Guitar

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The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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Modern Approaches to a Jazz Blues – Rethinking the Chord Progression

Reharmonizing and interpreting chord progressions like a 12 bar jazz blues is a very important part of improvising in jazz. In this video I will take a Bb Jazz Blues and go over a few fairly simple ways to get other sounds on the first 4 bars. It should open some new ideas and widen your knowledge of jazz harmony and jazz theory.

I discuss how I come up with the ideas and how I both improvise and comp with the “new” sound. Often making the chord progression more modal gives you a lot of interesting choices in terms of reharmonization and scale choices.

List of contents

0:32 Overview of what is covered in the video
0:44 Comping and Soloing with alternative changes and sounds

1:10 Standard Blues Changes solo for Reference
1:48 Making the Blues modal

2:12 Lydian b7 as a “different sound”
2:45 Lydian b7 Guitar Solo example
3:36 Structures used for Lydian b7
3:50 Triad Pairs: Bb + C
4:03 Ab Augmented and Bb
5:02 Gm and Ab Augmented
5:08 Bb7(b5) Arpeggio
5:21 FmMaj7 Arpeggio

5:41 Bb Phrygian Guitar Solo
6:32 Bb Phrygian as a Sound on a Bb Blues
6:43 Bmaj7(b5) chord as a Bb7sus4(b9) chord
7:09 Fm7b5 voicing
7:14 Db7 voicings
7:49 Coloring Blues Phrases with Phrygian chords
8:28 Using the Bmaj7(b5) arpeggio

8:43 Whole step dom7th Guitar Solo
9:31 The thinking behind the reharmonization
9:58 Playing Coltrane Changes on a Bb Blues
10:15 Explaining how the chords work
11:05 Comping Description
11:46 Soloing Description, target notes
12:20 Reharmonization in solos and interaction

12:54 Modal Altered Scale Guitar Solo
13:43 The Altered dom7th and extending it to 4 bars
14:26 Voicings (E7/Bb7alt)
14:53 Soloing: Important clear target notes
15:28 The Mysterious Triad
15:56 Dmaj7(#5) arpeggio

16:47 Taking these examples further.
17:12 Using the chord voicings to learn to solo
17:30 Thoughts on soloing with superimposed changes
17:48 Other Reharmonizations and modal sounds
18:10 How to come up with reharmonizations

19:04 Outro