The chord-scale approach links every chord to a compatible scale that informs melodic choices. For example, over a Dm7 (ii in C major) use D Dorian (D E F G A B C). For G7 (V) use G Mixolydian (G A B C D E F) or G altered (Ab A# etc.) when applying altered dominant concepts. Practice by outlining each chord tone and then targeting non-chord tones as approach tones.
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Unlike a lot of theory books that get bogged down in abstract rules, Berkman focuses on how harmony actually functions in real jazz playing. It’s written from the perspective of a working pianist, so the concepts are immediately applicable to the bandstand. The Jazz Harmony Book By David Berkman Full
is not merely a theoretical exercise but is "ontologically prior" to the jazz idiom. His text functions as a course in adding chords to melodies, demonstrating how a single melodic line can support diverse harmonic variations. By studying these variations, musicians learn to: The chord-scale approach links every chord to a