Mastering Modal ImprovisationDuring the first half of the history of jazz improvisation (at the time of this writing) jazz musicians mostly improvised over popular tunes of the 1920's, 30's and 40's. The majority of these tunes were 32 bar forms that used moving chord progressions that were diatonic to major. These tunes still make up the largest portion of any jazz musician's repertoire. However, beginning in the late 1950's we get introduced to new jazz tunes (written by the jazz musicians of the day) that have entire sections that stay on a single chord. The most widely recognized of these tunes is "So What" from Miles Davis' "Kind Of Blue."  The first 16 sixteen bars are on a D minor chord. The bridge is 8 bars of Eb minor and the last 8 bars return to the D minor chord. These were the beginnings of what has become known as modal jazz and the term modal jazz most often will refer to any tune that requires the improviser to play over a single chord color for an extended length of time, typically 4 bars or more.

At the time of "So What," improvisers were mostly approaching these tunes in much the same way that they were playing other tunes of the time. Eventually as they experimented further with this new "vehicle," musicians discovered ways to make playing what would otherwise be considered static (non-moving) tunes into highly creative music. In fact there became entire tunes that were based on a single chord color (John Coltrane's "A Love Supreme" recordings) or even entire albums and album "sides" that were a single color. (Miles Davis' "In A Silent Way.") These musicians favored improvising in minor modes and their approaches to playing this style by the early 1960's ultimately launched us into the world of "free," "fusion," and "acid" jazz.  

OriginsFrom classical music theory, the term “modal” typically refers to the use of the Greek scales derived from the major scale, which are referred to as modes (from the Latin word modus).  The major scale itself is referred to as the IONIAN MODE:  1 2 3 4 5 6 7.  If you play that same major scale but start on its second note instead of the root or tonic (1st note) and play diatonically (in the key of the root with no alterations) you create the Dorian mode: 2 3 4 5 6 7 1 2. From the 3rd note of major to the 3rd note of major (3 4 5 6 7 1 2 3) creates the Phrygian mode.  4 5 6 7 1 2 3 4 creates the Lydian mode. 5 6 7 1 2 3 4 5  is Mixolydian. 6 7 1 2 3 4 5 6 is Aeolian, and 7 1 2 3 4 5 6 7 is Locrian.

Although practicing the major scale by starting on each of its seven notes is a great way to initially learn the colors of these classic modern modes, jazz musicians are most likely to think in terms of the functionality of a scale or note in direct relation to the chord being played rather than referring back to the original major scale from which a scale or mode is derived. For example, the Mixolydian scale on its own would be conceived as 1 2 3 4 5 6 b7. This is based on the actual color of the mode and its direct relation to the V7 chord or any dominant 7th chord regardless of its relationship to the tonic key.  

IONIAN (MAJOR) WOULD PRODUCE: 1 2 3 4 5 6 7DORIAN WOULD BE: 1 2 B3 4 5 6 B7PHRYGIAN- 1 B2 B3 4 5 B6 B7LYDIAN- 1 2 3 #4 5 6 7MIXOLYDIAN- 1 2 3 4 5 6 B7AEOLIAN- (RELATIVE MINOR) 1 2 B3 4 5 B6 B7LOCRIAN- 1 B2 B3 4 B5 B6 B7

The simplest way to play over a modal tune is to ‘plug in’ the modal scale that corresponds with the chord type that is being played. For example- you can play Mixolydian (1 2 3 4 5 6 b7) for any dominant 7th chord or any dominant 7th with a suspended 4th such as the chords used in Herbie Hancock’s “Maiden Voyage.” In the tune “Saga Of Harrison Crabfeathers” the 2nd part of each “A” section as well as the entire bridge uses Major 7 with raised 4th chords. For these you would ‘plug in’ the Lydian scale (1 2 3 #4 5 6 7.)  Chick Corea’s “Sea Journey” has large sections over which you can use Aeolian (1 2 b3 4 5 b6 b7.)

All of the above scales are a result of diatonicism to major. Other very useful modes can be created from building scales that are diatonic to harmonic minor and descending melodic minor scales. We will actually address these in a separate edition of iImprov that explores how to handle ‘contemporary’ chord types. For the purpose of this app, we will focus on the most common type of modal tune.

Modal Improv Based on Dorian Minor Changes

Dorian minor tunes have become less about simply ‘plugging in’ Dorian scales 1 2 b3 4 5 6 b7 and more about having a suggested key center off of which to employ either the Dorian scale or as players such as John Coltrane, McCoy Tyner and Michael Brecker have shown us, well placed pentatonic scales.

Examples of minor (Dorian) modal tunes would include “Impressions,”

Coltrane’s version of “My Favorite Things”  and Freddie Hubbard’s “Little Sunflower.”

THE PENTATONIC SCALE

The pentatonic scale is a five note scale built out of tones from the major scale. Specifically it uses 1 2 3 5 6 from the major scale. Some theorists will build this scale from the 6th note and refer to it as a minor pentatonic. The creators of iImprov feel that it is easier for new improvisers to learn it and its applications by creating it in its major form: 1 2 3 5 6 of major.  As you play the scale on its own you will hear that it has a ‘folk-like’ quality to it.  In the context of a modal tune it can be a very useful melodic device.

The most common way to use a pentatonic on a Dorian minor tune is to play it from the b3 (minor 3rd) of the chord.  In C minor, you would use an Eb pentatonic (Eb F G Bb C). This would produce b3 4 5 b7 1.  You can also play a pentatonic from the b7 of the chord. This would give you b7 1 9(2) 11(4) 5. And finally you could play a pentatonic from the 4th of the key center. 4 5 6(13) 1 9(2).

Drawing from each of these three pentatonic scales alone greatly increases the amount of available melodic material. Where these pentatonics really help open things up is through the concept of sideslipping. To ‘sideslip’ is to temporarily leave the current key center by playing any one of three possible pentatonic scales up a 1/2 step from its original ‘jumping off’ point and then eventually returning back to the original pentatonic. The most common use of sideslipping occurs as the improvisor creates melodies from the pentatonic that occurs from the b3 of the key and then goes a 1/2 step up from there. In this case, the resulting notes of the ‘sideslipped’ pentatonic give you the remaining 5 notes of the CHROMATIC SCALE that are completely ‘outside’ of the of the dorian minor key. In the key of C minor- Eb F G Bb C. In the ‘sideslipped’ key- E F# G# B C#.

This type of sideslipping is very prevalent in the later recordings of John Coltrane as well as any of his followers including Michael Brecker and David Liebman to name a few. McCoy Tyner (Coltrane’s pianist) was even able to develop an accompaniment style that sideslipped in a similar way.

As you can hear from the examples of such masters, the key to successfully take advantage of this type of melodic device it to commit to it fully. Once you venture to the ‘outside’ key, stay with those notes until you decide to venture back to the main key. If you mix and match ‘inside’ and ‘outside’ notes it will just sound like you are playing the wrong notes.

Modal Improv Based on 7 Sus4 Chords

7 sus 4 chords are essentially dominant 7th chords that contain a suspended 4th. You will see these notated in different ways. Here are some examples in the key of C.

Most commonly seen are:   C7sus, C7sus4, and C11  

You will also see them written as a triad a whole step from below the bass note (key center) suspended over that bass note, e.g.: Bb/C  

And finally you will see them written as a minor 7th chord built from the 5th of the key suspended over the bass note of the key, e.g.: Gm7/C

Regardless of how this chord type is notated, the color of the chord will always include the b7 of the key and the 4th (11th) of the key. And very important to note is that if the 3rd is played, it is always the major 3rd of the key.

The simplest way to approach playing over this chord type is to play from the Mixolydian mode: 1 2 3 4 5 6 b7.  However, you could also employ the same pentatonic and sideslipping concepts as we did for minor if you think of a 7sus chord as minor 7th chord from the 5th of the bass note as in our last notation example: Gm7/C.

In this case, C7sus would be conceived as G minor which would allow you to use Bb pentatonic (b3 of G minor), F pentatonic (b7 of G) and C pentatonic (4 of G). And of course, each of these could be jumping off points for sideslipping as we did in minor.

If you prefer one less mental step in the process (as the developers of this app do) the three available pentatonic scales from a 7sus4 chord would be from the root (1), the 4th and the b7.

Modal Improv Based on Lydian Colors

The lydian color is created by raising the 4th of a major scale: 1 2 3 #4 5 6 7.You can create melodies by using the Lydian scale or you can use pentatonic scales from the root (1), 2nd, or 5th of the key. Sideslipping is less effective in Lydian modal songs. There are however other ways to creatively employ inserted half steps that we will explore in a different app from Jazz Apps Mobile LLC, iImprov-Bebop.

Chord symbols that represent the Lydian color will be written as Major 7 #11, Major 7#4, Major 7+11, Major 7+11 or as a ‘slash’ chord with a triad written a whole step over the root. Here are some examples in the key of C-

Cmaj7#11, Cmaj7#4, Cmaj7+11, Cmaj7+4, D/C---------------------------------------------------------------

The exercises, scale examples, and JAM-A-longs contained in this edition of iImprov are designed to give you the tools to take on these three most common types of modal improvisation with confidence. As you proceed to the exercises and JAM-A-longs, note that you can set the appropriate transposition for your instrument as well as make balance adjustments for the JAM-A-long by going to the Preferences page.  Enjoy! and thank you from the developers at Jazz Apps Mobile LLC!!