<Ol> <Li> ^ Jump up to: Miller, Michael (2008). The Complete Idiot's Guide to Music History, . ISBN 978 - 1 - 59257 - 751 - 4 . </Li> <Li> ^ Jump up to: Henry Martin, Keith Waters (2008). Essential Jazz: The First 100 Years, p. 178 - 79 . ISBN 978 - 0 - 495 - 50525 - 9 . </Li> <Li> Jump up ^ Berendt, Joachim (1976). The Jazz Book . Paladin . p. 357 . </Li> <Li> ^ Jump up to: Sutro, Dirk (2011). Jazz For Dummies, . ISBN 978 - 1 - 118 - 06852 - 6 . </Li> <Li> ^ Jump up to: Ellington, Mercer (24 April 2011) (1994). "Mercer Ellington On Piano Jazz". Piano Jazz (Interview). Interview with Marian McPartland. 13: 50 . Retrieved 2013 - 12 - 03 . Well Tizol did the melody, and he said that, you know, he used to hear those unusual melodies, because in Puerto Rico where he studied, they were very poor and they couldn't afford too much music . So in order to make them get more practice and get varied compositions, they'd turn the music upside down . And the result, you get that modal sound that comes from most of the things Tizol's involved in . </Li> <Li> Jump up ^ Mercer, Michelle (2007) Footprints: The Life and Work of Wayne Shorter . Penguin . </Li> <Li> Jump up ^ Kernfeld, Barry (1997). What to Listen for in Jazz, p. 68 . ISBN 978 - 0 - 300 - 07259 - 4 . </Li> <Li> Jump up ^ Herder, Ronald (1987). 1000 Keyboard Ideas, p. 75 . ISBN 978 - 0 - 943748 - 48 - 1 . </Li> </Ol> <Li> ^ Jump up to: Miller, Michael (2008). The Complete Idiot's Guide to Music History, . ISBN 978 - 1 - 59257 - 751 - 4 . </Li> <Li> ^ Jump up to: Henry Martin, Keith Waters (2008). Essential Jazz: The First 100 Years, p. 178 - 79 . ISBN 978 - 0 - 495 - 50525 - 9 . </Li> <Li> Jump up ^ Berendt, Joachim (1976). The Jazz Book . Paladin . p. 357 . </Li>

The use of greek modes as a basis for jazz improvisation was conceived by