Scales Over Chord Patterns

On Tue, 6 Feb 1996 mckelly@venus.cambrianc.on.ca wrote:

> How does one apply the various modes (lydian,
> mixolydian, etc.) over cord patterns?  What kinds of exercises are
> available to practice this?

If you are looking for rules from theory, it depends somewhat on
the genre and the desired effect.  Generally, for modal music,
learn the major, harmonic minor and melodic minor scales and
you've then got the fingerings for most modal music.  For phrygian,
the equivalent of the "picardi third" is used to resolve the II
chord.

For applying these modal scale notes over chord patterns,
   - First, be very aware of the relativity of the modes:
	Playing a jazz I ii V progression in a major
	key is equivalent to playing a VII i IV in dorian 
	or IV v I mixolidian.  Similarly i V VI minor is 
	equivalent to vi I II phrygian.  Phrygian key is 
	equivalent to playing a VII i IV in dorian or IV v I 
	mixolidian.  Similarly i V VI minor is equivalent to 
	vi I II phrygian.  Phrygian with the resolved 3rd 
	mentioned above differs from the "hungarian" scale 
	only in that the 7th is raised for the latter.  
	This gives rise to the suggestion of using the 
	hungarian scale as a substitution for phrygian over 
	the minor key progression.  

    - Think in terms of the melody as reinforcing notes in or 
	extending each chord: 
	For example, using the I chord, the major scale is:
                1 root
	        2 nineth (extention)
	        3 third
	        4 eleventh (extention) 
		5 fifth 
		6 sixth (extention) 
		7 seventh (extention)

    - Be aware of opportunities for using voice leading.  For example if 
      you have a chord progression I V I, playing an augmented 4th just 
      before the V chord or the 7th note in the scale just before the 
      I chord leads the melody to the root of the respective chords.

    - Be aware of chord substitutions (tri-tone substitutions common
      to jazz for example).  One example is V7 being replaced with 
      vii dim. 7 (this is equivalent to raising the root of the V7 
      chord by 1/2 step).  Thinking in these terms lead to the use 
      of the diminished scale over the V7 chord in jazz, for example.  
      In effect, the V7 chord becomes a V7-9 due to the notes played
      against it.