Harmonization of the modes

If on one hand the modal development of a scale produces a series of modal scales relative to that same scale, than from the other hand it is possible to harmonize each of these scales to obtain a series of useful chords, from a compositional as well as an improvisational point of view. If it is possible to harmonize a major scale using triads, it is also possible to harmonize every single modal scale.
Its quite simple to harmonize a scale: naturally it is necessary to learn a series of fundamental rules, which can be studied and analyzed in the theory section relating to the harmonization of the degrees of a major scale, for those who are not familiar with the harmonization of the scales and the intervals. To know perfectly the harmonic possibilities offered by the single modes is useful to confront studies devoted to modal improvisation, a subject of primary importance in the personal technique of every musician.

Modal improvisation phase 1

Now that you have a little confidence with the basic modal fingerings, we can venture into modal improvisation. In this site you can also find a section devoted to improvisation.
One of the most common questions with respect to the modal scales is related to its use in composition and improvisation.
Within a song the chords generally follow a logical sequence with an endless series of rules relating to the classical and modern harmony. Think that a guitarist is often confronted with one of the simplest harmonic successions of chords, such as the most classical harmonic sequence. You need to consider the fact that this simple sequence of chords comes from a series of rules relating to the harmonization of the degrees of a scale, and consequently, of the modal harmonization. In many cases, the chords are interconnected using a detailed system of cadences. We will study the modal improvisation starting with the more classical of these cadences.

Cadence
II° - V° - I°

Harmonizing the various modes of a major scale, you can understand how each of the chords is also seen as a degree derived from the root of the modes themselves. One of the most common situations in pop and jazz music, is the succession of the chords usually defined as II° - V° - I°, which can also be called a compound cadence. Its extensive use in the 20th century (and also now), shows that this harmonic succession is of fundamental importance in modern composition and improvisation. We can also say that the II° - V° - I° can be a good study tool for modal improvisation. There are numerous educational texts in commerce regarding this subject, not just for guitar, but also for other instruments.
We will analyze the main characteristics of the II° - V° - I° cadence that is created in C major using 4 note chords. The chord that is made in the dorian mode, second degree, is Dm7, the chord that is made in the mixolidian mode, fifth degree, is G7 and finally the chord that is made in the ionian mode, first degree, is Cmaj. The first task is to develop the succession of chords in order to build your confidence both from a technical aspect (the basic fingerings) as well as from a sound aspect.

As you can see, in the part to be played we have the three chords in question divided one per bar, with the difference being in the Cmaj7, which plays for two bars. The rhythm is deliberately simple to make learning of the fingerings easier. Learn these fingerings well, because the positions are fundamental in modern accompaniment, maybe even trying them on the attached midi base. We will now evaluate the scales that can be used within each of the three chords.
First of all we see how to use the single modal scales to recreate a melodic first line. We combine the modal scale belonging to every chord. For instance, on the Dm7 chord, second degree in C major (and therefore a dorian chord), we play that dosian scale, trying to create a melodic line. In the following example you can see how the modes are connected to their respective chords. It can also be helpful to listen to the example.

The notes of all three modes are developed in the second position, within type 1 in C major, and it is important to mainly understand how the scales must be used. As you can see, the notes are not put in continuous sequence (scale: C, D, E etc), but rather are varied. This is the most complicated part where it is necessary to spend most of your time.
The melodic line is made from a scale where an unlimited number of melodic lines can be created, that have different notes, rhythm, accents, etc. In the above example it is clear how the notes have a very regular rhythmic sequence. If we maintain the same fingering we can make considerable changes in the melodic execution by only working on the rhythm of the notes.
Look at the example below.

In this case the sixteenth rhythmics, even though based on the fingerings of the previous example, plays an important role in the sound content of the melodic line. Listening to the example you will understand for yourself how interesting it is to work with the rhythm.
In the following example you will see the use of a cliche.

This example involves playing a series of notes keeping the melodic intention constant. On the Dm7, for example, the dorian D scale is played to quatrains of sixteenth scaled in groups of four. Listen to the example, watch the regular flow of the notes during the scaling, but also to the choice of notes in all four bars of the example.
In the three following examples you can play in different positions on the fretboard, in order to develop other fingerings. Its your job to analyze the choice of the melodic lines and rhythms, observing the use of some characteristic notes within the modal scale in relationship to the chord being played.

In the second part of this section, which will be on-line shortly, we will continue the harmonic melodic analysis of the II° - V° - I° cadence, as well as the voicings of the chords, rhythmics and accompaniment.

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