Chord-Scale Approach: Introducing Modes

Chord-scale theory is a major topic in jazz improvisation, and it can get extremely detailed. Our goal here isn't to master the whole system, but to give you a little introduction to the topic that ties in with what we've already learned. At its most basic, the chord-scale approach means matching particular scales with particular chord types - and to explore it we need to introduce modes.

A useful way to think of modes is not as "different scales" but as different flavours or perspectives of a parent scale. The most commonly used modes are built from each note of the major scale. In G major as discussed in the tutorial:

The chord-scale approach works so well because the scale already contains the chord, and the chord is just the scale stacked in thirds. Take A Dorian (built on the 2nd degree of G major) and the chord built on that degree, Am. Extend Am to an A minor 13 and its chord tones are A - C - E - G - B - D - F# - and rearranged stepwise, those same notes are A - B - C - D - E - F# - G, which is simply A Dorian.

So, remember, the chord and the scale aren't two separate things; they're two ways of organising the same notes. That's why this is so useful: rather than thinking about every extension individually, think of the mode as a convenient pool of notes available over that chord. The chord tones remain your strongest points of resolution; the rest provide colour and melodic movement between them.

Two modes are worth getting in your ear first:

• Dorian - a minor sound, but brighter and more open than the natural minor, because it has a major 6th instead of a minor 6th. One of the most common sounds over minor chords in jazz, funk and folk.
• Mixolydian - bright and major in quality, but with a flattened 7th that gives it a bluesy, earthy character. Strongly associated with dominant 7th chords (e.g. D7 = D-F#-A-C-E-G-B, which reordered is D Mixolydian).

One final reminder: these chord-scale matches are not the only notes you can play over these chord types - they're just another useful jumping-off point. As always, your choices should be shaped by key, context, style, harmony and personal taste. Above all, trust your ears.

If you want a closer look at all seven modes built from the major scale, check out this chart. They all start from C, so you can clearly see the differences between them, and what notes are raised/lowered in each mode.

Now build the Dorian and Mixolydian scales for yourself: