Oops, I pushed the buttom twice...
Wow, too much information to digest!, thanks guys.
Ok, first of all, I understand modes enough to jam along with some tracks, but I´m learning Jazz so it´s getting really complex, anyway I want to learn this stuff just because I like to, so I´m not worried about whether other musicians understand them or not, I want to do it.
I would use F lydian but considering that scale is relative to C ionian, I prefer to stay on C ionian and just play some chord tones and characteristic modal tones on every chord instead, and considering that the ear will tell you that the progression is in C major, it makes sense, but that is not what I wanted to do.
I was worried about clashing with the chords I wrote so the idea of "avoids" (so typical in jazz) would be a good approach, kind of hard, but hey, it´s Jazz!. That explains why the classic modal rock track is just a one chord vamp, for example D lydian over 8 bars of a D major chord over and over again and not a chord progression (very clever idea from the autor!). I really liked the idea of thinking about that out of key notes as passing tones, so basically you could play the C Lydian escale over the progression but with some care, cool...
Another approach I saw on a book about modes is to write a "modal" chord progression, like:
F lydian over
Fmaj7 Dm7 Am7 Cmaj7 Fmaj7
(C major anyway but the tonic chord is F)
And not worry about the freaking tones that clash!.
That way you'd still have theory decide your tonal options. Personally, and I'm no expert on playing jazz, I would guess that such an approach might not work too well for jazz as it requires a more free and creative use of scales and modes. Or as my grandma once said:"Be like KingPatzer and work towards chromaticism."
