IMPROVISATION - by Michael Furstner
Lesson 12 - CHORD FUNCTIONS and MODES
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CONTENTS
12-1. Modes of the Major scale
12-2. Chord Functions
12-3. 'Sure Thing'
12-4. 'Why'
12-5. Improvisation : Overview
12-6. The Woodshed : Overview
12-7. Quiz 12 (and Answers to Quiz 11)
12-8. References
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12-1. MODES of the MAJOR SCALE
A mode can be described as a 'displaced scale'.
We have already dealt with the Mixolydian mode, the Dorian mode and the
Aeolian mode (or 'natural minor scale') which are all displaced major scales.
There are 7 notes in a major scale. Therefore there are also 7 modes of the
major scale (including the major scale itself).
Here are the seven modes generated from the C major scale.
The different sound that each mode represents is the result of the shifting
positions of the two SEMITONES in each mode.
(DEMO 60)
MODE TONIC CHORD
C Ionian mode : C D E-F G A B-C (C major scale) -----> Cmaj7 (Imaj7)
D Dorian mode : D E-F G A B-C D -----------------> Dm7 (IIm7)
E Phrygian mode : E-F G A B-C D E --------------> Em7 (IIIm7)
F Lydian mode : F G A B-C D E-F ------------> Fmaj7 (IVmaj7)
G Mixolydian mode : G A B-C D E-F G ---------> G7 (V7)
A Aeolian mode : A B-C D E-F G A ------> Am7 (VIm7)
B Locrian mode : B-C D E-F G A B ---> Bm7b5 (VIIm7b5)
Each mode has a Tonic chord that is one of the seven scal-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 :
(DEMO 61)
MODE TONIC CHORD
C Ionian mode : C D E-F G A B-C ---------> Cmaj7 (Imaj7)
C Dorian mode : C D-Eb F G A-Bb C -------> Cm7 (IIm7)
C Phrygian mode : C-Db Eb F G-Ab Bb C ------> Cm7 (IIIm7)
C Lydian mode : C D E F#-G A B-C --------> Cmaj7 (IVmaj7)
C Mixolydian mode : C D E-F G A-Bb C --------> C7 (V7)
C Aeolian mode : C D-Eb F G-Ab Bb C ------> Cm7 (VIm7)
C Locrian mode : C-Db Eb F-Gb Ab Bb C ----> Cm7b5 (VIIm7b5)
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 mode, the C Mixolydian mode.
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 Cm7b5 chord is the scale-tone 7th chord of only ONE major scale (Db). It
can therefore also have ONE function : as a VIIm7b5 chord.
Cm7b5 is the tonic chord for only ONE mode, the C Locrian mode.
The above conclusions are of course valid for ANY CHORD in ANY KEY.
Here a sentece that may help you to remember the order of the modes :
I Do Prefer Light Music After Lunch.
o o h y i e o
n r r d x o c
i i y i o l r
a a g a l i i
n n i n y a a
a d n n
n i
a
n
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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 :
a MAJOR KEY IIm7 - V7 - Imaj7
or (less commonly)
a MINOR KEY IIm7b5 - V7 - Im7
Take this approach even when the chord appears quite isolated.
----------------------------------
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.
IVmja7 - VIIm7b5 - IIIm7 - VIm7 - IIm7 - V7 - Imaj7 (- IVmaj7)
Example 1.
For example when there are 2 or 3 minor chords in Circle of 5ths order they
represent a segment of above progression :
(IIIm7) - VIm7 - IIm7
In such case play the III Phrygian mode over IIIm7, the VI Aeolian mode over
VIm7 and the II Dorian mode over IIm7. This sounds perhaps more difficult than
it is, for all three modes use the same notes. (Think therefore of using the
II Dorian mode over all three chords.)
Example 2.
Likewise when 2 major chords occur together they often represent :
Imaj7 - IVmaj7
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.)
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Use the following approach for improvisation :
1. The MAJOR 7TH CHORD is usually a Imaj7 chord : use the MAJOR SCALE.
Exception : when a maj7 chord a 5th up is nearby (Example 2 above), try the
Lydian mode.
For example the F triad chord in bar 5 of 'A Happy Day' is a
scale-tone chord of the C major scale, do not use the F major
scale here. The F chord in the Bridge could be either a I or
a IV chord, use your own preference.
Exception : Many improvisers use the Lydian mode over major chords
REGARDLESS of their function. This is a great scale with a
bright contemporary sound. Just RAISE the 4th of the major
scale and bingo, you have got the Lydian mode.
C major scale : C D E F G A B C (1 2 3 4 5 6 7 1)
C Lydian mode : C D E F# G A B C (1 2 3 #4 5 6 7 1)
2. The DOMINANT 7TH CHORD is ALWAYS a V7 chord : use the MIXOLYDIAN MODE.
Exception : When the V7 chord is PRECEDED by a HALF DIM. chord (IIm7b5) :
ALWAYS use the HARMONIC MINOR scale with its Tonic a 5th DOWN.
For example : for C7 use the F harmonic minor scale
for G7 use the C harmonic minor scale
for D7 use the G harmonic minor scale
for F7 use the Bb harmonic minor scale
etc.
3. The MINOR 7TH CHORD is usually a IIm7 chord : use the DORIAN MODE.
(If it is a Im7 chord of a IIm7b5 - V7 - Im7 : still use the Dorian mode.)
Exception : When there are other minor chords nearby (with their root a 5th
apart, Example 1 above) consider using related modes.
For example : Cm7 - Fm7 (as in 'Where There's Rain') use the
C Aeolian and F Dorian mode (both from the Eb major scale).
Or : Em7 - Am7 - Dm7 : use E Phrygian, A Aeolian, D Dorian.
(Always the Dorian mode of the most 'downstream' root on the
Circle of 5ths.)
4. The HALF DIMINISHED CHORD is a VIIm7b5 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#)
Exception : Whewn the half diminished chord is FOLLOWED by a DOMINANT
CHORD, ALWAYS use the HARMONIC MINOR SCALE a tone below the
root.
For example : Gm7b5 - C7 : use the F harmonic minor scale
Em7b5 - A7 : use the D harmonic minor scale
Cm7b5 - F7 : use the Bb harmonic minor scale
5. The DIMINISHED 7TH CHORD is in most cases a passing chord. Use CHORD TONES.
(Or the 8-note diminished scale : see 'Chords Book 2' Chpt.20)
GENERAL COMMENT
The general rules above are only abandonned when there are larger scale-tone
chord segments involved. These can be spotted very easily.
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
(DEMO 62)
Major 7th chords ---> Major scale (or Lydian mode)
(DEMO 63)
Dominant 7th chords ---> Mixolydian modes (or harmonic minor a 5th down)
(DEMO 64)
Minor 7th chords ---> Dorian modes (unless associated with other minor chords)
(DEMO 65)
Half diminished chords ---> Locrian mode (or Harmonic minor a tone down)
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12-3. SURE THING
'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)
The note 'A' in bars 3 and 19 is A below middle C on the keyboard.
(MELODY)
SURE THING
(by Michael Furstner)
C6 Cm6
-----------------------------------------------------------
4 E G A c - A | G | Eb C D C - A' | |
4 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 |
-----------------------------------------------------------
1
Cmaj7 D7
-----------------------------------------------------------
| E G A c - e | e | d A | ||
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 ||
-----------------------------------------------------------
5
Dm7 G7 Cmaj7 A7
-----------------------------------------------------------
| c A c d - B | A | G E G A - E | |
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 |
-----------------------------------------------------------
9
D7 G7
------------------------------------------------------------
| - D F# G A B c d | c | B G | - - B A G F E D ||
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 2 + 3 4 | 1 + 2 + 3 + 4 + ||
------------------------------------------------------------
13
C6 Cm6
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| E G A c - A | G | Eb C D C - A' | |
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 |
-----------------------------------------------------------
17
Cmaj7 D7
-----------------------------------------------------------
| E G A c - e | e | d A | ||
| 1 + 2 + 3 + 4 + | 1 2 3 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 ||
-----------------------------------------------------------
21
Dm7 G7 Cmaj7 A7
-----------------------------------------------------------
| c A c d - B | A G F - E | E G A - B | |
| 1 2 3 + 4 + | 1 2 + 3 + 4 + | 1 2 3 + 4 + | 1 2 3 4 |
-----------------------------------------------------------
25
D7 G7 Cmaj7 (Dm7 G7)
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| - A B c d e f g | - G A c | | ||
| 1 + 2 + 3 + 4 + | 1 2 3 + 4 + | 1 2 3 4 | 1 2 3 4 ||
------------------------------------------------------------
29
Copyright 1995 Michael Furstner
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12-4. WHY ?
'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
(MELODY)
WHY
(NOTATION)
by Michael Furstner
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12-5. IMPROVISATION
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
2. Use of SCALE tones or tones of the appropriate MODE
3. Use of CRITICAL TONES, that distinguish one scale from the next one.
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.
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.
B. PHRASING
1. Alternate HIGH activity (short notes) with LOW activity (long notes and
rests).
2. Use of ACCENTS on downbeats 2 and 4 and all OFFBEAT positions.
3. Use of TRIPLET quavers.
4. Selecting different STARTING (and ENDING) points for phrases.
5. Use of DYNAMICS (crescendo, decrescendo) and ARTICULATION (staccatos,
tenudos, slurred passages). Articulation of the LAST NOTE of a phrase.
6. Variation of PHRASE LENGTH. Phrase across 'natural' phrase ending points
every 4 bars, and across the end of a chorus.
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, Bb (concert key)
2. IIm7 - V7 - Imaj7 in all major keys
3. IIm7b5 - V7(b9) - Im7 in all minor keys.
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12-6. THE WOODSHED
We have focussed in this Course on :
1. Seventh chords in all keys
2. Major scale in all keys
3. Mixolydian mode in all keys
4. Dorian mode in all keys
5. Harmonic minor scale in all keys
6. IIm7 - V7 - Imaj7 in all keys
7. IIm7b5 - V7 - Im(7) in all keys
To the above selection you can add the :
* major pentatonic scale in C : C D E G A C
in any key : 1 2 3 5 6 1
* minor pentatonic scale in C : C Eb F G Bb C
in any key : 1 b3 4 5 b7 1
* blues scale in C : C Eb F Gb G Bb C
in any key : 1 b3 4 b5 5 b7 1
Additional routines for all scales : use simple patterns
Pattern 123 : 1 2 3 2 3 4 3 4 5 etc.
C major scale : C D E D E F E F G
Pattern 1231 : 1 2 3 1 2 3 4 2 3 4 5 3 etc.
C major scale : C D E C D E F D E F G F
Pattern 1234 : 1 2 3 4 2 3 4 5 3 4 5 6 etc.
C major scale : C D E F D E F G E F G A
Pattern 1324 : 1 3 2 4 3 5 4 6 5 7 6 8 etc.
C major scale : C E D F E G F A G B A c
Pattern 135 246 : 1 3 5 2 4 6 3 5 7 4 6 8 etc.
C major scale : C E G D F A E G B F A c
You can use the Major scale Play-a-Long track with 8 bars in each key.
For example :
(DEMO 66)
Pattern 1231 (in C)
-----------------------------------------------------------------------
4 C D E C D E F D | E F G E F G A F | G A B G A B c A | B c d B c |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 4 |
-----------------------------------------------------------------------
-----------------------------------------------------------------------
| c B A c B A G B | A G F A G F E G | F E D F E D C E | D C B' D C ||
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 4 ||
-----------------------------------------------------------------------
You can also go up and down over 2 octaves playing the pattern in semiquavers
(1/16 notes).
(DEMO 67)
Pattern 1324 (in C)
-----------------------------------------------------------------------
4 C E D F E G F A | G B A c B d c e | d f e g f a g b | a c' b d' c' |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 4 |
-----------------------------------------------------------------------
------------------------------------------------------------------------
| c' a b g a f g e | f d e c d B c A | B G A F G E F D | E C D B' C ||
| 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + | 1 + 2 + 3 4 ||
------------------------------------------------------------------------
Good luck.
Michael.
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12-7. QUIZ 12
A.
Unscramble these II-V-Is and place the chords in a logical order.
1. G7 Bbmaj Cm7 Cmaj7 F7 Dm7
2. Ab7 Dmaj7 Ebm7 A7 Dbmaj7 Em7
3. Fm7 Am7 Gm7b5 B7 C7 Emaj7
4. Cm7 Dm7 Bb7 Fm7b5 Ebm7 G7
5. B7 Am7 Cmaj7 F#m7b5 Gmaj7 D7 Em
B.
Write down the Dorian modes for these chords.
1. Dm7
2. Am7
3. Bbm7
4. Fm7
5. F#m7
C.
Write the Mixolydian modes for these chords.
1. F7
2. F#7
3. A7
4. Bb7
5. E7
D.
Write out the Locrian modes for these chords.
1. Cm7b5
2. Fm7b5
3. Am7b5
4. Gm7b5
5. F#m7b5
E.
What scale do you use for improvisation over each of the chords in these
progressions.
1. Gm7 - C7 - Fmaj7
2. Dm7 - C7 - Fm7
3. Am7b5 - D7 - Gm7
4. Cm7 - Fm7 - Bb7
5. E7 - Amaj7 - Dmaj7
6. Am7 - D7 - G7
7. Em7b5 - A7 - Dmaj7
8. B7 - E7 - A7
F.
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
ANSWERS IN LESSON 12 Supplement
--------------------------------------
Answers to Quiz 11
A.
What are the 'minor II-V-I progressions' in these keys.
1. Fm Gm7b5 - C7(b9) - Fm
2. Ebm Fm7b5 - Bb7(b9) - Ebm
3. Dm Am7b5 - D7(b9) - Gm
4. Gm Am7b5 - D7(b9) - Gm
5. Bbm Cm7b5 - F7(b9) - Bbm
6. Am Bm7b5 - E7(b9) - Am
B.
Which harmonic minor scale do you use for improvisation over these dominant
chords.
1. F7b9 - Bb harmonic minor scale
2. E7b9 - A harmonic minor scale
3. G7b9 - C harmonic minor scale
4. A7b9 - D harmonic minor scale
5. Bb7b9 - Eb harmonic minor scale
6. D7b9 - G harmonic minor scale
C.
What scale(s) do you use over these chord progressions
1. Fm7b5 - Bb7 - Ebm : Eb harmonic minor scale
2. Am7b5 - D7b9 - Gm7 : G harmonic minor scale , G Dorian over Gm7
3. Ebm7 - Ab7 - Dbmaj7 : Db major scale
4. Gm7b5 - C7 - Fm : F harmonic minor scale
5. Em7b5 - A7b9 - Dm7 : D harmonic minor scale , D Dorian over Dm7
6. F#m7 - B7 - Em7 : E major scale , E Dorian over Em7
D.
Name five (or as many as you can think of) aspects of phrasing we have dealt
with in this course.
See 'Improvisation' above.
E.
Name five (or as many as you can think of) aspects of tone selection for
improvisation we have dealt with in this course.
See 'Improvisation' above.
F.
Name five (or as many as you can think of) fundament chord progressions we
have dealt with in this course.
I(maj7) - VIm(7) - IIm(7) - V7
Basic 12 bar Blues (I - I - I - I , IV - IV - I - I , V - V - I - I)
Embellished Blues (I - IV - I - I , IV - IV - I - I , V - IV - I - I)
IVmaj7 - VIIm7b5 - IIIm7 - VIm7 - IIm7 - V7 - Imaj7
IIm7 - V7 - Imaj7
IIm7b5 - V7(b9) - Im(7)
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Copyright 1997 Michael Furstner. All rights reserved.
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