AboutPhil Kelly Expertise I can answer questions regarding jazz performance, jazz theory , composition,arranging and jazz recording and production..And overview of my CV /Bio and some sound samples of my work can be found on my website:
www.philkellymusic.com
Experience In addition to more than 40 years as a composer / arranger for
film, TV, and other media applications, I've written for bands like
Bill Watrous' NY Wildlife Refuge, the Old Tonight show band ,
Doc Severinsen, Si Zentner, as well as functioning as arranger/
conductor / drummer for vocalists Buddy Greco, Julius LaRosa,
Frank D'Rone, Sylvia Syms, John Gary, Jenny Smith, and Al
?TNT? Braggs among others..
Early on in my career, I also logged several years as a jazz
drummer with artists such as Terry Gibbs ,Red Garland, and
Denny Zeitlin as well as years of work as a studio and recording
drummer. In addition to his film and TV writing, I've written music
for over 500 national commercials , ESPN, ABC Sports , NFL
Films, and industrial films and shows for Cadillac, Chevrolet,
Volkswagen, American Airlines and Zales Jewelers.
I've also been the primary arranger for the Fort Worth ( TX)
Symphony Pops series for more than 25 years,and has been
commissioned to provide custom pop symphonic scores for Doc
Severinsen and Peter Nero., and have had arrangements played
by the Houston , Dallas, Detroit, Cincinnati, and North Carolina
Symphony orchestras.
Now semi-retired and residing in Bellingham WA, I still write jazz
and pop orchestra arrangements for publication and on
commision, and I'm beginning an auxiliary career in the
educational field as a clinician in film scoring and music for the
media at various colleges around the USA , as well serving as a
big band coach at the Bud Shank Centrum Jazz camp in Port
Townsend WA. for the past several years.
Organizations Amer. Fed. of Musicians
ASCAP
Amer. Soc. of Music Composers and Arrangers
Production Music Assn>
Publications Experts.com ..music composition and theory pages
Education/Credentials BFA major in music and graphic arts: Miami OH and Cincinnatti Coll/Cons /Music'60
Expert: Phil Kelly Date: 3/17/2006 Subject: modal theory
Question Dear Sir,
I am currently confused regarding some information that I have come across as a guitarist. My question involves the idea that in each mode there are primary chords derived from their relationship to the tonic. I.e. I-IV-V is fairly easy since they, as I understand are derived from the perfect 4th and 5th movements from the root. However according to Ron Middlebrook (author of a few books- I assume that you know of him) has stated that in other modes, primary chords are relative to the particular leading note of that mode. E.g. In the Locrian mode of the key of G, which is F# Locrian, the primary chords or notes are F#,Am and G. How is this worked out? I would be most greatful for any help on the subject and I am sorry for the wordy question.
Yours Sincerely
Jon Clarke
Answer Hi Jon :
Although I'm not familiar with the Middlebrook guy you cited, his information is probably correct although I might have chosen to approach it differently:
This is a very complex concept that I cant go into in detail here. but basically, "modes" are scalar systems each of which possess characteristic intervals which affect the chordal resources:
( modes based on white keys )
Each mode has it's own characteristic combination of intervals that identify the mode ..i.e :
C Aeolian : your basic major scale with the half steps between 3 and 4, 7 and 8.
D Dorian: minor with a major 4 chord
E Phrigian : minor with a major flatted second triad
F Lydian: major with a major chord on the second triad ( due to the sharped fourth )
G mixolydian:: major with a minor seventh chord on five ..
and so on ..
Therefore: modes are best though of as a melodic LINEAR resource with certain identifiable intervals defining the mode.
These characteristic intervals further influence the harmonic resources available within the given mode.
This is a bit different from what you've read, but I think it's another way of getting at the same thing.
