The bridge of “Confirmation” (mm. 17–24) features two four-bar phrases with ii7 –V7 tonicizations of the IV and ≤VI key areas. The chord–scale relationship for the bridge in Figure 18.4 includes a different selection of modes: Dorian, Mixolydian, and Ionian for Cmin7–F7–B≤Maj7, and Dorian, Altered, and Lydian for E≤min7–A≤7–D≤Maj7. Tonal and contextual considerations are particularly evident with the choice of Altered mode in m. 22, which accommodates notes from the tonic key and prepares the arrival of FMaj7 in m. 25. The last A section (mm. 25–32) features a much bolder selection of modes. The choices of A Altered in m. 26 and F Locrian in m. 28 are particularly poignant. The former injects chromatic notes into the structure of dominant 7th chord. The choice of F Locrian over Cmin7–F7 in m. 28 might seem out of place because neither chord (at least not in the present form) establishes a convincing relationship with this mode. But, the F Locrian mode forms a chord–scale relationship with F7(≤9≥9)sus, which is an effective harmonic substitution for Cmin7–F7. While the selection of modes in Figure 18.4 is overcrowded with different options, an improvisation may focus on only a few modes. In fact, each A section contains a selection of modes that could be implemented in the course of an entire solo. In establishing a successful chord–scale relationship for the tune, be mindful of three important con- siderations: (1) modal hierarchy, (2) chromatic treatment, and (3) voice leading. Chromatic modes, for instance, contain notes that might need preparation. This preparation usually takes place anywhere from one beat to one measure before the chromatic notes occur. The succession of modes in mm. 5–6—B≤ Mixolydian and D Mixolydian ≤13—illustrates such a case. The latter mode contains the chromatic ≤13th that was introduced as ≤7th of B≤7 in m. 5. “CONFIRMATION” 239