microscopic examination and logical formalization of twentieth century
music. Having played several kinds of world music, I must say that
Modalogy opens new perspectives for any musician in the world,
from East to West and from North to South. Bravo!"
advanced (yet highly practical!) knowledge. I fully recommend it!
It starts where Berklee’s modal thing ends, and goes way further."
"This book is filled with lots of golden nuggets relating to modes, modal chord progressions and beyond. The modal chord progression tables for each mode are worth the price of the book ALONE. It covers so much more than just modes and progressions though. It takes you pretty far!
It may seem a little intimidating at first due to some of the chosen nomenclature, but that really only applies to when a concept or advanced chord and so on are introduced to you (like in the chapter titles). The meat and potatoes of this text are in plain ol' English. You'll have no problem absorbing the material contained herein as it's communicated very well.
The book starts off with a (necessary) brief overview of Pentatonic scales. It then walks you through an evolution which takes the Pentatonic scale, morphs it into the major scale, then into its modes, and way beyond as well. It's rather eye-opening to see just how similar one scale or one chord progression is to another, how they're all functioning and how they interrelate.
you're a composer, songwriter or theory book addict, you'll definitely
want this in your collection as it demystifies a lot of material and
answers a lot of your questions. You'll be able to tinker around with
some really 'colorful' stuff after diving into this one. "
"Modalogy, a deep study of musical symmetry.
"As a professional jazz pianist, author of a text on jazz harmony, and professor for nearly thirty years, I am always intrigued by new work in this field, and was pleased to encounter Jeff Brent's (with Schell Barkley) Modalogy.
After taking some time studying and working with the contents, I've come to the conclusion that this is a profoundly important text not only for jazz players and teachers, but for all musicians. Modalogy provides layer upon layer upon layer of information and logic that beckons the reader to return time and time again.
As the title suggests, the book contains an in depth analysis of modes, with their sources, characteristics, and modal cadences. Along with diatonic modes, the method for establishing commonly used chromatic modes, is unique, refreshing, brilliant, yet in the end, simply applied.
The authors, have developed a Dorian-centric approach to a radially generated cycle (in contrary motion style), which builds a truly symmetrical inside/ outside take on harmony and dissonance. Through this approach, Brent/Barkely take a fresh and somewhat unconventional approach to the organization of scale types, classifying them using a basic color system portrayed over a cube design. It will give the reader a lot to think about, but it works.
The appendix broadens the scope for application of this material into a large body of detailed related information that the reader will find helpful in practicing.
The topics and concepts are presented plainly and clearly in an approachable and down to-earth manner, with great attention to detail. Although of benefit to serious students beginning a study of jazz harmony and improvisation, the text has much to offer advanced students and teachers. Modalogy offers and expansive study that will inspire and challenge for years to come and I highly recommend it."
Charles Austin - 5-star review on the 'Modalogy' page at Amazon.com
"This is a must have."
"This book provides thorough explanation of the derivation of scales and modes. In doing so, it gives you that starting point you've been looking for to branch out.Through clear, very concise explanations you inevitably explore new areas that you would not have otherwise. Mine is tattered, stained and hunched over because I never stop going back to it for reference and new ideas. It is hands down a unique and user friendly alternative way to looking at music and internalizing its very core."
Amazon Customer 5-star review on the 'Modalogy' page at Amazon.com
"Yes, a must have."
"I have been studying music theory from several different authors for the past 10 years. I was frustrated in the beginning because nothing really delved into the study of scales, in particular the older church modes. This book does this and so much more, and there are some very interesting new concepts which I think should be explored by all musicians. Must Have!"
S Harris - 5-star review on the 'Modalogy' page at Amazon.co.uk
"This book is for musicians who know what works ..... but also want to know why....?"
"Not for the faint-hearted!!! The authors know their stuff and present it concisely and precisely. The music theory is set out logically and they provide the underpinning rationale for the scales and the relationships between them all.
smartyfun - 5-star review on the 'Modalogy' page at Amazon.co.uk
"A different slant on familiar territory. Time will tell ..."
"A different slant on familiar territory. Time will tell what the implications will be for me in terms of composition/improvisation. Definitely an interesting read, though."
Konrad Breuers - 5-star review on the 'Modalogy' page at Amazon.ca
"A quite complete work on modalism. However, it has to be read carefully because some explanations are a bit difficult to understand in a first reading. But it is excellent."
(original text in Portuguese)
Antonio Alvim - 5-star review on the 'Modalogy' page at Amazon.br
'Modalogy' begins, well, at the very beginning, with a look at some basic laws of physics involving intervals and the overtone series. Through a step-by-step process, the authors go on to trace the evolution of the pentatonic scale, major scale, modes, and ultimately all of the scales commonly employed by jazz musicians.
Throughout the discussion, they make it clear that all scales (yes, even symmetrical scales - and there are more than you think!) are formed as logical extensions of the basic major scale modes, which themselves are simply collections of consonant fourths derived from the overtone series.
The advantage to examining a scale in terms of its derivation and component parts is that you gain a basic understanding of its inherent characteristics and why it behaves the way it does. The authors elaborate on this as they discuss the cadences and progressions of the various modes one-by-one. We may know from experience that bII-i cadences are effective in Phrygian modes, while bVII-i cadences work well in Aeolian modes, but few of us have explored the reasons why.
The section on The Chromatic Modes is challenging, but also fascinating and worth delving into. The only 'criticism' I could conjure up was, "Well, I don't think of it that way, but I wonder what other possibilities these concepts might open up for me?"
This book has been carefully thought out, and explores musical relationships that many of us never dreamed were possible. Few individuals, including musicians, take the time to discover or appreciate the innate mathematical beauty of how music is put together. 'Unified field theory' is an appropriate subtitle for this volume. It's just uncanny how the surface complexity of music reduces to utter simplicity and sheer logic.
Although some will read the volume cover-to-cover (not at one sitting!), others will find it more suited as a reference work. The copious appendices cover a broad array of topics with clear tables and charts.
If your approach to music theory is, "I know what works, but I want to know why and what else I might explore," then this is the book for you.
Dec. 18, 2010
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