We cannot stress much the importance of triads of chords (but also of notes intervals and scales) in improvisation.

A good application is to realize that as a diatonic scale is characterized as chords on the wheel by 4ths by its 3 chords on the steps 1M, 4M , 5M (harmonic triplet of chords) , OR 7d 1M 2m (chromatic tripler of chords) the same can apply for the modes of the diatonic scale.

**Besides the basic harmonic triplets (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are harmonic relations od chords, in other words chords that their roots differ by an interval of 4th (5th)) , there are also the chromatic triplets (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are chromatic relations od chords, in other words chords that their roots differ by an interval of 2nd). BOTHER ARE BASIC TYPES OF TRIPLETS. Inother words with the 3 chords of the triplet we can accompany any melody in the diatonic scale. WE CANNOT HAVE THSI PROPERTY OF BEING HARMONICALLY A BASE OF 3 CHORDS FOR MELODIC TRIPLETs (in other words a sequence of 3 chords X1,X2,X3 so that X1-X2 , X2-X3 are melodic relations of chords, in other words chords that their roots differ by an interval of 3rd)**
The chords of a mode of a diatonic scale at the steps 1,4,5 (or 7,1, 2) of it characterize its mood.

For example for the mixolydian mode of the diatonic scale from C ,(G, A, B , C, D, E, F, G) the chords at the steps 1,4 ,5 are the G, C, Dm) thus the 1, 2, 5 or I, ii, V of the original ionian and are the base of blues jazz.

Based on this perception, the 7 modes of the diatonic scale have the following chord triads:

(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.

1. IONIAN : CHROMATIC TRIPLET (7d, 1M, 2m)

2. DORIAN : CHROMATIC TRIPLET (1M, 2m, 3m )

3. PHRYGIAN : CHROMATIC TRIPLET(2m,3m, 4M)

4. LYDIAN: CHROMATIC TRIPLET(3m, 4M, 5M)

5. MIXOLYDIAN: CHROMATIC TRIPLET (4M, 5M, 6m)

6. AEOLIAN: CHROMATIC TRIPLET (5M, 6m, 7d)

7. LOCRIAN: CHROMATIC TRIPLET (6m, 7d, 1M)

We may compare the

1. IONIAN : HARMONIC TRIPLET (1M, 4M, 5M)

2. DORIAN : HARMONIC TRIPLET (2m, 5M, 6m)

3. PHRYGIAN : HARMONIC TRIPLET (3m, 6m, 7d)

4. LYDIAN: HARMONIC TRIPLET (4M, 7d,1M)

5. MIXOLYDIAN: HARMONIC TRIPLET (5M, 1M,2m)

6. AEOLIAN: HARMONIC TRIPLET (6m, 2m, 3m)

7. LOCRIAN: HARMONIC TRIPLET (7d, 3m, 4M)

Besides these 2 types of basic triplets we have also a 3rd type X1 X2 X3 , where X1-X2 is a chromatic relation and the X2-X3 is an harmonic relation or vice versa. We may call them the mixed

To convert a basic harmonic triplet to another chromatic or mixed basi triplet we utilize correspondences where we correspond each of the 3 main major chords of the diatonic scale with their lower minor relative and the 5M7 with the 7d. Therefore

2m<->4M

3m<->5M

6m<->1M

7d<-> 5M7

The same arguments may apply for the

IONIAN MODE: 7M-1M-2m

DORIAN MODE: 1M-2m-3M

FRYGIAN MODE: 2m-3M7-4M

LYDIAN MODE: 3M-4M-5M

AEOLIAN MODE: 5M-6m-7M

LOCRIAN MODE: 6m-7M-1M

Based on this perception, the 7 modes of the diatonic scale have the following chord triads:

(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.

1. IONIAN : CHROMATIC TRIPLET (7d, 1M, 2m)

2. DORIAN : CHROMATIC TRIPLET (1M, 2m, 3m )

3. PHRYGIAN : CHROMATIC TRIPLET(2m,3m, 4M)

4. LYDIAN: CHROMATIC TRIPLET(3m, 4M, 5M)

5. MIXOLYDIAN: CHROMATIC TRIPLET (4M, 5M, 6m)

6. AEOLIAN: CHROMATIC TRIPLET (5M, 6m, 7d)

7. LOCRIAN: CHROMATIC TRIPLET (6m, 7d, 1M)

We may compare the

**basic chromatic triplets**with the**basic harmonic triplets**(see also post 222)1. IONIAN : HARMONIC TRIPLET (1M, 4M, 5M)

2. DORIAN : HARMONIC TRIPLET (2m, 5M, 6m)

3. PHRYGIAN : HARMONIC TRIPLET (3m, 6m, 7d)

4. LYDIAN: HARMONIC TRIPLET (4M, 7d,1M)

5. MIXOLYDIAN: HARMONIC TRIPLET (5M, 1M,2m)

6. AEOLIAN: HARMONIC TRIPLET (6m, 2m, 3m)

7. LOCRIAN: HARMONIC TRIPLET (7d, 3m, 4M)

Besides these 2 types of basic triplets we have also a 3rd type X1 X2 X3 , where X1-X2 is a chromatic relation and the X2-X3 is an harmonic relation or vice versa. We may call them the mixed

**basic chromatic-harmonic triplets. E.g.**the basic triplet that is used sometimes in blues 1M 2m, 5M , is such as 1M-2m have chromatic relation while 1M-5M harmonic relation.To convert a basic harmonic triplet to another chromatic or mixed basi triplet we utilize correspondences where we correspond each of the 3 main major chords of the diatonic scale with their lower minor relative and the 5M7 with the 7d. Therefore

2m<->4M

3m<->5M

6m<->1M

7d<-> 5M7

The same arguments may apply for the

**chromatic tonality**where some of the mnor chords become major and some of the major chords minor. E.g.**We have the harmonic triplet (3M7, 6m ,2m ) of the frygian mode and the harmonic triplet (7M7-3M7-6m) of the Locrian mode which are combined with the more standard harmonic triplets of the diatonic tonality of the dorian mode (2m-5M7-1M) or the myxolydian mode (5M7-1M7-4M) .****For alternative basic chromatic triplets of the**

**chromatic tonality**(that corresponds to the**harmonic minor**and**double harmonic minor**) we have the triplets (we notice that thsi type of chromatic tonality gives for the basic chromatic triplets, cases of 2 major chords and one minor, thus the major chords are dominating!)IONIAN MODE: 7M-1M-2m

DORIAN MODE: 1M-2m-3M

FRYGIAN MODE: 2m-3M7-4M

LYDIAN MODE: 3M-4M-5M

AEOLIAN MODE: 5M-6m-7M

LOCRIAN MODE: 6m-7M-1M