johnranck.net

By Bill McBirnie

Used with permission

IMPORTANT THINGS TO RECOGNIZE FROM THE OUTSET

1. All music is "modal" because chords come from scales, not the other way around.
2. Melody is more important than harmony because melody implies harmony, not the other way around.
3. Virtually anything diatonic can be reduced to a "V" or a "I" function. So, in that sense, there is no need to fuss too much about the other functions (and that includes the "II" function!)

CYCLE OF 4ths THROUGH THE KEYS—MODULATIONS/TRANSITIONS:

C    F    Bb    Eb    Ab    Db    Gb    B    E    A    D    G -->   ALL 12 KEY AREAS

CYCLE OF 4ths WITHIN THE KEY (IN THE KEY OF Bb)—SCALES/MODES:

Bb  	Eb 	A  	D  	G	C	F      ------>  THE 7 SCALE DEGREES
	(I 	IV VII III VI II	V)              (NOTE THE FUNCTIONS)	

DIATONIC SCALE MODES (IN THE KEY OF Bb):

Note	 Degree   Solfege Know As		Mode      Function	  Chord Type
	 Bb   1st 		Do	  Tonic	  	    Ionian	 	 I	   	maj 7 (maj 6/9)
	 C	   2nd 		Re	  Supertonic	Dorian	     II	 	      min 7
	 D	   3rd 		Mi	  Mediant		Phrygian	 III	 	  min 7
	 Eb	   4th 		Fa	  Subdominant	Lydian		 IV	  	      maj 7
	 F	   5th 		So	  Dominant		Mixolydian   V  	      dom 7	 
	 G	   6th 		La	  Submediant	Aeolian	     VI	 	      min 7
	 A	   7th 		Ti	  Leading Note	Locrian	     VII 	 half-diminished

Anything diatonic is made up of a “pool of notes” which is derived from a single key area (i.e., one scale). So, when improvising, simply think in terms of that key area (i.e., just the one scale). From this “pool of notes”, you will be making melodic (albeit consonant) note choices, grounded on the relevant function. [NOTE: We can deal with alterations and substitutions later.]

Here is a suggested comprehensive exercise: Work each scale through the cycle of fourths within the key and listen very carefully to the quality and the function of each mode as you proceed through that key area. Do the same with all of the corresponding arpeggios (i.e., chords) in 7ths. [NOTE: If your time is limited, then simply work through the last three functions; i.e., the II, the V and then the I of each key signature.] Listen very carefully to how each mode and each corresponding 7th chord ties into both (1) the key area and (2) the function which that mode is serving.

Important tip: The most critical technical facility for you to develop as an improvisor is to learn precisely what each key area “feels” like—and without having to think about the key signature—because, ultimately, you want to be able to draw readily from a “pool of notes” that is derived from one scale (i.e., one key area) and, from this “pool of notes”, you want to create melodically interesting shapes and contours.

(Copyright, Bill McBirnie, May 2012)