All that jazz

Talk to a classical musician about modes and he will think you mean ancient church stuff that died out four hundred years ago. But, as I've been discovering in my jazz class, modes are alive and well and swinging. D minor? You'll need a Dorian scale starting on D. Or how about a Lydian scale (major scale with sharpened fourth), or a Mixolydian (major scale with flattened seventh)? Or even the exotic Locrian (all the white notes of the piano, played from B to B, starting with a semitone)?

Jazz improvising is heavily based around scales of all sorts, chosen according to the current chord and its context. The church modes are just the start of the story. There's the pentatonic scale (think of it as the black notes of the piano). The blues scale (pentatonic but with a telling extra note). The diminished scale of alternating tones and semitones, independently discovered by Messiaen who called them 'modes of limited transposition'. Or the baffling diminished whole tone scale (a major scale with every note flattened apart from the tonic).

And then discovering how to use them. For example, if you want to, you can use a single blues scale throughout a twelve bar blues. For example, the B flat blues scale of Bb, Db, Eb, F, Ab, Bb will fit (more or less) with any of the three chords Bb, Eb, F major. And the diminished whole-tone scale comes into its own on the dominant of a II - V - I minor key progression. It doesn't look as though it should work, but it does.

Improvising is harder than it seems.