Okay...we'll bring those diatonic 7th chords into the mix shortly.
Now, I want to introduce (reinforce?) Modes. Starting with the Major scale, we have 7 modes (just different starting points, really).
- Ionian
- Dorian
- Phrygian
- Lydian
- Mixolydian
- Aeolian
- Locrian
Yeah? Most of you likely know these...possibly labeled: Tonic, supertonic, median, sub-whatever. Same thing, only these ones are better. I.e. F Dorian is the second mode of Eb Major; C Lydian is the fourth mode of G Major, and so on...yeah?
This is the 'parent scale' method. Relating each mode back to it's relative parent. Another approach is to consider the individual alterations. For example, F Mixolydian scale has one note altered from the F Major scale: b7. G Aeolian has three notes altered: b3, b6, b7. Make sense? This method becomes more intuitive when we get into chord symbols/alterations and extensions.
Here's a chart to clarify:
Got it?
Which ever way you choose to think of it, ya gotta know your scales...cold. Like, hardcore. Because, we'll soon apply the chord/scale relationship, and in improvising, instant decisions are made (F? F#??) ...This stuff needs to become second nature.
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