Scale Essentials – Modes In Progression
Chord Scales
Chord scales are a means of applying the appropriate scale to a chord in a piece of music. When we analyse a chord progression we look at chords according to their ‘function’ within a key (hence the term Functional Harmony). This is how we learn to match the various scales and chords within a key.
On a basic level, as we’ve already seen, we can describe a chord progression by number. These numbers refer to the scale degrees within a major or minor key. For example, a 1-4-5 progression in the key of C major would be the chords C major, F Major and G Major.
We also have a set of modes within our key that may be described using that same numbering system. For example, in a major key, Mode 1 is Ionian, Mode 2 is Dorian, Mode 3 is Phrygian etc.
Using this numbering system we can simply match the modes to each chord in a major key as follows (Scale Degree – Triad – Seventh Chord – Mode):
- #1 Major Triad – Major7 – Ionian (Major Scale)
- #2 Minor Triad – Minor 7 – Dorian
- #3 Minor Triad – Minor 7 – Phrygian
- #4 Major Triad – Major 7 – Lydian
- #5 Major Triad – Dominant 7 – Mixolydian
- #6 Minor Triad – Minor 7 – Aeolian
- #7 Diminished Triad – Minor 7 Flat 5 – Locrian
In the key of C major this would provide the following set of chords/scales:
- #1 C – Cmaj7 – C Ionian (Major Scale)
- #2 Dm – Dm7 – D Dorian
- #3 Em – Em7 – E Phrygian
- #4 F – Fmaj7 – F Lydian
- #5 G – G7 – G Mixolydian
- #6 Am – Am7 – A Aeolian
- #7 Bdim – Bm7b5 – B Locrian
Now let’s apply this system to a simple 1625 chord progression in the key of C major:
Cmaj7 – Am7 – Dm7 – G7
If we refer to the table above we can see the following chord/scale relationships:
- Cmaj7 – C Major Scale
- Am7 – A Aeolian Scale
- Dm7 – D Dorian Scale
- G7 – G Mixolydian Scale
As an exercise, we can play the arpeggios of the chord progression followed by the appropriate modes.
Backing Track:
So this is a simple way of seeing how we can create scalar content over a chord progression.
We could also see those notes as all taken directly from the parent C major scale but the advantage to seeing them relative to each chord from a modal perspective is that we’re constantly seeing each scale as an embellishment of the chord tone framework.
The arpeggios or chord tones are the first port of call and the non-chord tones connect serve to connect them.