Each mode has a Tonic chord that is one of the seven scale-tone chords of the major scale (as shown in the right collumn). These are the original seven modes of the seven-tone music system (now our white notes on the keyboard) of the ancient Greek era. The names are from Mediterranean regions where each mode came from.

In our modern twelve-tone music system (which includes all black notes on the keyboard) the modes have been transposed to all 12 keys.

The seven modes that start with the tonic note 'C' for example are :

Audio 12.2

• The C Dorian mode is derived from the Bb major scale starting on the second note 'C', and Cm7 is the IIm7 scale-tone chord of the Bb major scale.
  
  
• The C Phrygian mode is derived from the Ab major scale starting on the third note 'C', and Cm7 is the IIIm7 scale-tone chord of the Ab major scale.
  
  
• The C Lydian mode is derived from the G major scale starting on the fourth note 'C', and Cmaj7 is the IVmaj7 scale-tone chord of the G major scale.
  
  and so on

From the above we can conclude that :

MAJOR 7TH CHORDS
The Cmaj7 chord is the scale-tone 7th chord of two major scales (C and G). It can therefore also have two functions : as a Imaj7 chord or as a IVmaj7 chord.

Cmaj7 is the tonic chord for two modes, the C Ionian mode (major scale) and the C Lydian mode.

DOMINANT 7TH CHORDS
The C7 chord is the scale-tone 7th chord of only one major scale (F). It can therefore also have one function : as a V7 chord.

C7 is the tonic chord for only one major scale mode, the C Mixolydian mode.
(But it also is the Tonic chord for the V mode of the harmonic minor scale!)

MINOR 7TH CHORDS
The Cm7 chord is the scale-tone 7th chord of three major scales (Bb, Eb and Ab). It can therefore also have three functions : as a IIm7 chord, a IIIm7 chord or as a VIm7 chord.

Cm7 is the tonic chord for three modes, the C Dorian mode, the C Phrygian mode and the C Aeolian mode.

HALF DIMINISHED CHORDS
The Cø chord is the scale-tone 7th chord of only one major scale (Db). It can therefore also have one function : as a VIIø chord.

Cø is the tonic chord for only one major scale mode, the C Locrian mode.
(But it also is the Tonic chord for the II mode of the harmonic minor scale)

The above conclusions are of course valid for ANY CHORD in ANY KEY.

Here is a sentence to help you remember the order of the modes :

Im 12.2 - Chord Functions

It is important to understand the modes and the mode / chord relationships. But usually the function of a chord is quite clear cut. In most cases it can be regarded as part of :

In some cases the chord progression represents the whole or a part (other than II-V-I) of the scale-tone chord progression of the major scale.

Example 1.
When there are 2 or 3 minor chords in Circle of 5ths order they represent a segment of above progression :

Example 2.
Likewise when 2 major chords occur together they often represent :

Here use the I major scale over Imaj7 and the IV Lydian mode over IVmaj7. (Which again boils down to using the Imaj7 scale over both chords.)

Here follow some general guidelines :

1. The major 7th chord is usually a Imaj7 chord : use the major scale.
   

2. The dominant 7th chord is always a V7 chord : use the Mixolydian mode.

3. The minor 7th chord is usually a IIm7 chord : use the Dorian mode.
   (If it is a Im7 chord of a IIø - V7 - Im7 : still use the Dorian mode.)

4. The half diminished chord is a VIIø chord when it is followed by a minor chord : use the Locrian mode
   (The Locrian mode is derived from the major scale 1 semitone above.
   For example the F# Locrian mode is the G major scale startion on F#)
   
   The half diminished chord is a IIø chord when it is followed by a dominant chord : use the Harmonic minor scale one tone lower.
   

5. The diminished 7th chord is in most cases a passing chord. Use chord tones.
   (Or the 8-note diminished scale)

Take for example Hey There or Street Dance. Playing Dorian modes here over all minor chords and the major scale over the F chord sounds most odd and inappropriate. Also in these scale-tone chord songs you do not need to think about all the modes involved. Simply focus on the parent major scale and the chord tones as they go by, and the modes will look after themselves.

IN RECAP

1. Audio 12.3 : Major 7th chords -----> Major scale (or Lydian mode)

2. Audio 12.4 : Dominant 7th chords -----> Mixolydian modes (or harmonic minor a 5th down)

3. Audio 12.5 : Minor 7th chords -----> Dorian modes (unless associated with other minor chords)

4. Audio 12.6 : Half diminished chords -----> Locrian mode (or Harmonic minor a tone down)

Im 12.3 - Sure Thing (Song)

Sure Thing is a 32 bar song in ABAC format. Treat all chords as per above instructions.

• Major 7th chords -----> major scale
  
  
• Dominant 7th chords -----> Mixolydian modes
  
  
• Minor 7th chords -----> Dorian modes

Play a C major scale over C6 (C E G A).     Play a C Dorian mode over Cm6 (C Eb G A)

Audio 12.7

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Im 12.4 - Why (Song)

'Why' is a 32 bar song in ABAC format. Treat all chords as per above instructions.

• Major 7th chords -----> major scale
  
  
• Dominant 7th chords -----> Mixolydian modes
  
  
• Minor 7th chords -----> Dorian modes

Audio 12.8

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Im 12.5 - Improvisation - Overview

We have dealt in this Course with the two essential aspects of improvisation : tone selection and phrasing.
Continue to work on the following elements.

A. Tone Selection

1. Use of chord tones : L1.5
   
   
2. Use of scale tones or tones of the appropriate mode : L2.4
   
   
3. Use of critical tones, distinguishing one scale from the next one : L5.6 - L6.4
   
   
4. Focus on essential chord tones, the 3rd and 7th of the chord, (and also the 9th), and their use as starting and ending notes of a phrase : L8.4
   
   
5. Use of guide tone lines ( consisting of chord tones and important melody tones) to provide meaningful direction in a solo, especially over monotonousor difficult chord passages : L9.5

B. Phrasing

1. Alternate high activity (short notes) with low activity (long notes and rests) : L1.4c
   
   
2. Use of accents on downbeats 2 and 4 and all offbeats positions : L6.4a
   
   
3. Use of triplet quavers : L3.3a
   
   
4. Selecting different starting and ending points for phrases : L7.5 - L8.4
   
   
5. Use of dynamics (crescendo, decrescendo) and articulation (staccatos, tenudos, slurred passages). Articulation of the last note of a phrase : L6.4a
   
   
6. Variation of phrase length. Phrase across 'natural' phrase ending points every 4 bars, and across the end of a chorus : L11.5

Keep working on these aspects and your improvisation will improve immensely.

Use as main vehicles for your improvisation practice :

1. The 12 bar Blues in G, C, F and Bb (concert key)
   
   
2. IIm7 - V7 - IΔ in all major keys
   
   
3. IIø - V7^(b9) - Im7 in all minor keys.

It is impossible to absorb everything at once. Do work on all 12 keys, but focus in the beginning most of your efforts on the easier keys : A - D - G - C - F - Bb. Then gradually extend your range.

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Im 12.6 - The Woodshed - Overview

We have focussed in this Course on :

1. Seventh chords : L3.4 - L4.5
   
   
2. Major scale : L1.9 - L2.6
   
   
3. Mixolydian mode : L5.7 - L6.5
   
   
4. Dorian mode : L7.6 - L8.6
   
   
5. Harmonic minor scale : L9.6
   
   
6. IIm7 - V7 - IΔ : L10.6
   
   
7. IIø - V7 - Im7 : L11.6
   
   To the above selection you can add the :
   
   
8. Major pentatonic scale
   
   
9. Minor pentatonic scale
   
   
10. Blues scale

Digital Patterns
Once you are comfortable in playing a scale over a 2 octave range, practise them using digital patterns.
For example : You can use the Major scale Play-along track with 8 bars in each key, or use the special Play-along Library for Digital patterns.

Here is the 1231 - 2342 pattern in music notation : Audio 12.9

You can also go up and down over 2 octaves playing the pattern in semiquavers (1/16 notes).

Here is the 1324 - 3546 pattern

Audio 12.10

Six Digital patterns you should learn

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Im 12.7 - Quiz

1. Unscramble these II-V-Is and place the chords in a logical order.
   1. G7   BbΔ   Cm7   CΔ   F7   Dm7
   2. Ab7   DΔ   Ebm7   A7 DbΔ   Em7
   3. Fm7   AΔ   Gø   B7   C7   E7
   4. CΔ   Dm7   Bb7   Fø   Ebm7   G7
   5. B7   Am7   CΔ   F#ø   GΔ   D7   Em
   
   
   
2. Write down the Dorian modes for these chords.
   1. Dm7
   2. Am7
   3. Bbm7
   4. Fm7
   5. F#m7
   
   
   
3. Write the Mixolydian modes for these chords.
   1. F7
   2. F#7
   3. A7
   4. Bb7
   5. E7
   
   
   
4. Write out the Locrian modes for these chords.
   1. Cø
   2. Fø
   3. Aø
   4. Gø
   5. F#ø
   
   
   
5. What scale do you use for improvisation over each of the chords in these
   progressions.
   1. Gm7 - C7 - FΔ
   2. Dm7 - C7 - Fm7
   3. Aø - D7 - Gm7
   4. Cm7 - Fm7 - Bb7
   5. E7 - AΔ - DΔ
   6. Am7 - D7 - G7
   7. Eø - A7 - DΔ
   8. B7 - E7 - A7
   
   
   
6. Write out the II-V-Is in the following keys.
   1. F major
   2. Db major
   3. G minor
   4. A major
   5. D minor

Quiz ANSWERS

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Im 12.8 Practice Materials

Sure Thing	Lead sheet Bb Eb	Melody & Impro	Play-along
	Swapping 4s
Why	Lead sheet Bb Eb	Melody & Impro	Play-along
Digital Patterns	Patterns 1 & 2	Patterns 3 & 4	Patterns 5 & 6
	Metronome	Play-long Library
Rulers	Basic	Advanced
	Jazz Harmony Dial

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Copyright © 1997 - 2007 Michael Furstner.