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a few months ago I did a session on modes with one of my students..
after about 30 minutes he said "really? is that it?"
face to face is so much easier..
Now you could "stay in key, e.g. play ionian of the the I chord and say the Lydian over the 4th chord, but they sound very different. (let's assume the chord are just major triads), but you could also play the ionian over the 4th (the forth being the root) or a mixolydian.
It's all about where you want the melody to move. However the more notes in the chord the more constrained you are in terms of scale choice.
Personally I find it very hard to improvise using modes but can give you great scope when composing a solo.
having a DAW means you can create simple backing tracks to play over and experiment with..
playing with modes with context makes all the difference
it is valid to try out the sounds of C Dorian over CMaj etc but it'll sound odd coming as it does from Bb Maj - if quirky and odd is the effect you want go for it !
Arpeggios is where the cool stuff is anyway ..... <puts on tin hat>
Modes? We don't need no steenking modes !!!!
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So if you play cmaj7 scale from 3rd fret a string ..count up 6 for e.g. and you will have A aeolian...look at the interval and see how it relates back to the parent scale ...the interval will be the same wherever on the fret board ...so A aeolian is same notes as c Maj...now move the A note to C one the same string now you have C aeolian with a parent scale of Eb
This will work with all the modes using different intervals a degrees of the scale ..this is relating back to maj scale ..eventually you will need to look at each mode from its root note ..
so just in case folk misunderstand this, C maj7 is a chord not a scale
and will no doubt do it many times again.. lol..
It gets more interesting when you avoid starting near root notes and span the traditional CAGED shapes (e.g. starting on the flat 7th and implying Mixolydian)