By Chord concept

There are two basic approaches to linear improvisation. These are By Key [melodic] and By Chord [harmonic].

In By Chord improvisation, chord tones become the primary focus of techniques. By Chord improvisation can take place in virtually any application. Representation of the current harmony [chord change] is the successful execution of this approach.

Scales can be applied to chords in various ways, depending upon function and stylistic context. Scales which contain chord tones and tensions (true chord scales) are entirely melodic. This means every note works against the chord. Some scales contain notes which must be treated more carefully, generally as a scale-approach from above, or as a passing-tone between chord-tones. These pitches are called avoid notes.

**SCALE APPLICATIONS**
length	name(s)	formula	chord(s)
Five note [Pentatonic]	Major Pentatonic	1 - 2 - 3 - 5 - 6	Major Triads [most] Major Sixth Major Seventh Sevenths [with 9 and 13]
Five note [Pentatonic]	Minor Pentatonic	1 - ^b3 - 4 - 5 - ^b7	Minor Triads [most] Minor Seventh
Six note	Whole Tone	1 - 2 - 3 - [#4/b5] - [#5/b6] - b7	V7^[b5], V+7
Seven note [Church modes]	Lydian	1 - 2 - 3 - #4 - 5 - 6 - 7	Major Seventh [#11]
	Ionian [Diatonic; Major]	1 - 2 - 3 - 4 - 5 - 6 - 7	I Major Triads [most] Major Seventh
	Mixolydian	1 - 2 - 3 - 4 - 5 - 6 - ^b7	I7 [most], V7, V7^sus4 Seventh [blues/paralell]
	Dorian	1 - 2 - ^b3 - 4 - 5 - 6 - ^b7	I Minor Triads [most] I-7, [II-7]
	Aeolian [Natural Pure Relative minor]	1 - 2 - ^b3 - 4 - 5 - ^b6 - ^b7	I Minor Triads [most] I-7, [VI-7]
	Phrygian	1 - ^b2 - ^b3 - 4 - 5 - ^b6 - ^b7	I Minor Triads [phrygian mode] I-7, V7^{sus4[b9, b13]}, [III-7]
	Locrian	1 - ^b2 - ^b3 - 4 - ^b5 - ^b6 - ^b7	II-7^b5 Minor Seventh Flat Five [M.I.]
Seven note [Real Minor modes]	Lydian b7	1 - 2 - 3 - #4 - 5 - 6 - b7	Seventh [9, #11, 13]
	Jazz Minor; Real Minor; Real Melodic Minor; Melodic Minor Ascending	1 - 2 - b3 - 4 - 5 - 6 - 7	I Minor Triads [most] Im^maj7 Minor [major-seventh] Minor sixth
	Mixolydian b6	1 - 2 - 3 - 4 - 5 - ^b6 - ^b7	V7^{9, b13}, V7^{sus4[9, b13]}
	Dorian b2	1 - ^b2 - ^b3 - 4 - 5 - 6 - ^b7	V7^{sus4[b9, #9, 13]}
	Locrian #2	1 - 2 - ^b3 - 4 - ^b5 - ^b6 - ^b7	II-7^b5, VI-7^b5 Minor Seventh Flat Five [9]
	Lydian Augmented	1 - 2 - 3 - ^#4 - ^#5 - 6 - 7	I+^maj7, Imaj7^b5
	Altered [Altered Dominant; Diminished Whole-tone]	1 - ^b9 - ^#9 - 3 - ^b5 - ^#5 - ^b7	V7^[alt] variations include [b9/#9] with [b5/b13] or [#11/#5]
Seven note [Harmonic Minor mode]	Mixolydian b2, b6	1 - ^b2 - 3 - 4 - 5 - ^b6 - ^b7	V7^{[b9, b13]} [to I Minor]
Eight note [Diminished]	Diminished	1 - 2 - ^b3 - 4 - ^b5 - ^b6 - ^bb7 - 7	I^o7 [Delayed Resolution]
Eight note [Diminished]	Symetrical Diminished	1 - ^b2 - ^#2 - 3 - ^#4 - 5 - 6 - ^b7	V7^{[b9/#9/#11/13]}