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It is modes. We are talking modes without talking modes. Take the notes of the G major scale and change the 7th degree from major to Flat 7 what scale does it mirror…the C major scale but since we are connecting notes from the perspective of G as the tonic and not C it is referred to a G mixolydian…it is in fact called a Cmajor scale with the difference being the tonal center or the note of emphasis if you will as a direct result of the order of how the notes are played or another way to emphasise is repetition or even a puntated dynamic. Summing up here….. if you are soloing and continually reinforcing the tone of G you could signal the chord movement to C (the chordal C change) by hitting that flat 7 and then returning to G (which you will purposefully stay away from to tease the resolve), after pedaling the C note for a phrase/measure or unill you want it to resolve with the G again. Tension, release. This is a fun yet intertwined and woven topic that is still working its way through my grey matter…not hair. I think whole symphonies are written explaining this and a ton of books, non of which helped me…..I had to do it the down and dirty way of “keep going” until it makes sense. And it IS making sense more and more.