Modality treats the chords as ‘decorative’ rather than ‘functional’. It's the same bank of notes for all, with different 'home' notes. Notes diatonic are D E F G A B C. The V represents G Mixolydian, notes available G A B C D E F, and the I represents C Ionian (aka C major), notes available C D E F G A B. This gives the impression that you are playing the sound of a generic ‘key’ as a whole, rather than necessarily specific chords within that key. What's more is that the only thing that differentiates the form of the song at all is the transition of the D minor (dorian) sound to the Eb sound. You focus on creating melodies in a particular scale or key. Special attention must be given to the root (the modal centre) and some extra emphasis should be put on the characteristic tone(s) of the mode. But, even though a Modal Jazz solo is ‘freer’ than a tonal solo, there are, nevertheless, still some restrictions in modal improvisation. Any chord which contains the character tone of the mode creates a weak pull towards the tonic chord – these chords have a ‘Cadential-like function’ (Note: I say ‘Cadential-like function’ because modal harmony does NOT use ‘functional harmony’. It can go much further back. Can a person be vaccinated against their will in Austria or Germany? Shouldn't some stars behave as black hole? Is the word ноябрь or its forms ever abbreviated in Russian language? So to answer your question: how modal jazz uses chord progression - I'd say modal jazz IS certain progressions that are different that usual jazz harmonic vocabulary of II-V-Is and modulations through cycle of fifths. I explained the difference between these two things in a previous lesson. Why did mainframes have big conspicuous power-off buttons? This is called thinking ‘horizontally’ (i.e. (This is more in line with Mark Gridley's take on what "modal jazz" is.) In modal harmony, however, because there is no functional harmony there is NOT as strong a pull to the tonic.