You are ridiculously clean. I can't keep the strings on my acoustic steady to actually play full chords most of the time. I'll never be as good as you. Proper rockstar.
Thank you so much Sarah. Im playing guitar 27 years now and Im only figuring this out. Didn't know that my whole cd collection that I was in fact a mixolydian Junkie. Early Beatles and ACDC. What a revelation. Thanks
Wonderful, really simplifying modes/chords for me and love your varied song choices, styles, differentiations, comparisons. I play by ear but want the balance. There are other channels but really it can be way more confusing. Thank you!!
Thanks for the lesson.. you should get into some Fela Kuti &/or James Brown examples of Mixolydian. Would love to see your breakdowns. Anyways have subscribed.
I’m curious as to what happens at the end of Baba O’Riley by the Who. It’s solidly F major through the intro, verse, course, bridge or refrain.. what ever you want to call it. I-V-IV and a melody that never strays from F major (Ionian). Then “we’re all wasted” on C.. with a C major, Bb major, F major, and Eb major. The guitar solo remains in F major until the Eb chord where the E in the solo flats to Eb. Then the violin solo. It makes no bones about making Eb part of its melody as it goes up and down. So.. my question is is this now F Mixolydian? Or did the tonal centre change to C and it’s now C Dorian? The bass line is F and C which to me would say F, yet the chords and voice are on C, and the violin melody seems too dark and whimsical to be Mixolydian.. more of that Celtic or Old English feel that Dorian conveys so well. I’m pretty sure it’s not Bb major and absolutely sure it’s not G minor.
I cannot shake off how much you look like a mix of Amy Adams and Ally Beardsley from College humor. While Im here just wanna say these videos have been the best resource for understanding this stuff so thank you :)
Guitarist Reb Beach says In the key of A if you play the D major scale it will be an A Mixolydian scale. But you have to play a D major scale only can use it when its over the E major chord in the key of A. Does this make sense?
I love Reb. Mixolydian is the fifth mode, so take any major scale and use the fifth note as your root and you have mixolydian. If you’re talking about D major, play a D major scale starting on A as your root and you have A mixolydian. A B C# D E F# G.
@@RedHookGuitar2 In the Key of A the 5th note would be E ( not D ) , so you would play E major scale starting on the A as your root to have A mixolydian. But Reb Beach is saying that in the key of A if you play the D major scale starting on the A as your root you will have A mixolydian, So I'm confused because D is the 4th note in the key of A.
@@waynegram8907 in the key of A, E would be the fifth note, so E mixolydian. Think of the notes, it’s a major scale with a b7. E F# G# A B C# D. An E major scale starting on A would be A Lydian. Think of the notes. A B C# D# E F# G#. Maybe he misspoke? Not sure without seeing the video.
@@RedHookGuitar2 I think what Reb Beach is saying in his VHS lesson is there is a short cut cheat sheet that he uses. If you're in the key of A you count up 5 notes and it will be D which if you play a D major scale this will be A mixolydian scale. If you're in the key of G you count up 5 notes which will be C which you play an C major scale it will be a G mixolydian scale. Its a way of a short cut cheat sheet so you don't have to think to much. I'm not sure how to do this cheat sheet for the other modes but the main point is if you know how to play a normal major or minor scale all you have to do is use this cheat sheet method of counting up or down from the ROOT note and playing either a major scale or minor scale to get the MODE you want. What the main point Reb Beach is saying is that all the modes are just major and minor scales the hard part is finding the parent root note of the major or minor scale to turn it into a mode. He has some cheatsheet method in his mind so when he is playing lead guitar he doesn't have to think about it much you just count up or down from the root note/key and play a major or minor scale to get that mode. Its a different way of finding the modes easier when you're playing in any key.
@@waynegram8907 it makes sense, except if you are counting up 5 notes from A, you get E, no? A (1) B (2) C (3) D (4) E (5). You can do this with any mode, as long as you know the order of modes. I have another modal video that explains this, how to find any mode from the parent scale. For example, play a C major scale. Start on the C and you get Ionian, start on the D, you get D Dorian, start on the E and you get E phrygian, etc.
How did the jazz guys in the 40's-70's use modes to really hear the mode tonalities? I thought the jazz guys used only 2-5-1 ii-V-I progressions and would somehow would write a modal melody that had modal tonalities, but I'm not sure how they write a modal melody line. Each mode has one altered note compared to the major or minor scale so I'm not sure how to emphasis and make my JAM sections lead lines have that modal tonalities like the jazz guys did when Jamming scales. Any Tips?
That’s a very big topic. Jazz players use a lot of color in terms of chord extensions and substitutions. There are many approaches to soloing over changes. If you take a 2 5 1 for example, the 2 chord has a Dorian sound because it’s the 2 minor chord of the key. The five chord has a mixolydian sound because it’s the 5 chord or the key. The 1 chord has an Ionian sound because it’s the 1 chord of the key. However, advanced jazz players use more than just a basic modal approach like this. They use a lot of chromaticism to connect their lines and over the 5 chord, they will often use the melodic minor scale up a half step. I would suggest studying solos from jazz players to get ideas on how to do this.
But to “outline” the sound of each chord within the mode, that’s more about being able to find the chord tones of the chord you’re playing over and use them within the mode. Practicing arpeggios, triads, and other exercises can bring out the sound of each chord within the mode.
@@RedHookGuitar2 When playing parallel modes is playing in other keys from the original key of the song. When playing relative modes its still in the same key of the original key of the song. But when playing parallel modes they are going to be in other keys and out of key notes to the original key of the song. So not sure how to use parallel modes because it has a lot of out of key notes. How did the Jazz guys use parallel modes? They are only using ii-V-I or I-IV-V?
@@RedHookGuitar2 What do you mean by using the melodic minor scale up a half step. If the V chord is a G dominant, you mean they would using G# melodic minor scale? Most classical composers used melodic minor over the V dominant chord in minor keys, not sure why tho.
Parallel modes wouldn’t apply to a 2 5 1 progression. All the chords are relative to a key. Like Dm G7 Cmaj7 are all in C major. Dorian, mixolydian, Ionian would be the modes. Parallel modes would work over a song that stays on one chord for a long time, like So What or Impressions. You could take it out by experimenting playing different minor modes over the Dm chord. They also come up in examples of borrowed harmony. An example would be a progression that goes from Gmaj7 to Gm7.
Everyone loves a pedant, Francis. ‘Flattened’ is what happens to roadkill . ‘Flatted’ is what happens to a musical note. The former would be non-standard in musical discourse.
![How to Improvise Solos in Mixolydian Mode [Guitar Lesson]](http://i.ytimg.com/vi/vPIebPDBizs/mqdefault.jpg)
Wonderful breakdown on how these modes are played on popular music
You are ridiculously clean. I can't keep the strings on my acoustic steady to actually play full chords most of the time. I'll never be as good as you. Proper rockstar.
Thank you so much Sarah. Im playing guitar 27 years now and Im only figuring this out. Didn't know that my whole cd collection that I was in fact a mixolydian Junkie. Early Beatles and ACDC. What a revelation. Thanks
the thing is, I doubt Angus or Malcomb knew they were playing in Mixolydian mode. They just knew it sounded good.
I love to watch you play - your left hand, your fingers ... :)
That was great. I was searching for modal songs for my student and this one really helped me. Thanks.
Wonderful, really simplifying modes/chords for me and love your varied song choices, styles, differentiations, comparisons.
I play by ear but want the balance. There are other channels but really it can be way more confusing. Thank you!!
Very good lesson, I learn a lot about theory from these lessons, great job as always, thanks! 😊
Thank you!
Great info and coverage, thank you.
Great video, well explained and good examples!
Thanks for the lesson.. you should get into some Fela Kuti &/or James Brown examples of Mixolydian. Would love to see your breakdowns. Anyways have subscribed.
Awesome video!
Thank you so much, you're so fluent in music theory it's impressive !
Great video, thank you for sharing...
Fantastic
Good lesson
Do you think AC/DC knows they are using mixolydian?
Definitely! Malcom was a genius songwriter. His genius was in the simplicity of his writing.
1. Walk like an Egyptian
2. Yaad Aa raha Hai ( Disco Dancer ) by Bappi Lahiri
You are awesome
Dang girl, you're awesome.Thanks so much for sharing.Hope you are well God loves you deeply Shalom 🤗🐼❤️✝️💐 Philippians 4:8
I’m curious as to what happens at the end of Baba O’Riley by the Who.
It’s solidly F major through the intro, verse, course, bridge or refrain.. what ever you want to call it. I-V-IV and a melody that never strays from F major (Ionian).
Then “we’re all wasted” on C.. with a C major, Bb major, F major, and Eb major. The guitar solo remains in F major until the Eb chord where the E in the solo flats to Eb.
Then the violin solo. It makes no bones about making Eb part of its melody as it goes up and down.
So.. my question is is this now F Mixolydian? Or did the tonal centre change to C and it’s now C Dorian?
The bass line is F and C which to me would say F, yet the chords and voice are on C, and the violin melody seems too dark and whimsical to be Mixolydian.. more of that Celtic or Old English feel that Dorian conveys so well.
I’m pretty sure it’s not Bb major and absolutely sure it’s not G minor.
Clocks should be written as (I v ii I) if you're talking about Em in the key of D mixolydian.
You’re right, not sure where that vi came from. Thanks for the catch.
I cannot shake off how much you look like a mix of Amy Adams and Ally Beardsley from College humor. While Im here just wanna say these videos have been the best resource for understanding this stuff so thank you :)
Guitarist Reb Beach says In the key of A if you play the D major scale it will be an A Mixolydian scale. But you have to play a D major scale only can use it when its over the E major chord in the key of A. Does this make sense?
I love Reb. Mixolydian is the fifth mode, so take any major scale and use the fifth note as your root and you have mixolydian. If you’re talking about D major, play a D major scale starting on A as your root and you have A mixolydian. A B C# D E F# G.
@@RedHookGuitar2 In the Key of A the 5th note would be E ( not D ) , so you would play E major scale starting on the A as your root to have A mixolydian. But Reb Beach is saying that in the key of A if you play the D major scale starting on the A as your root you will have A mixolydian, So I'm confused because D is the 4th note in the key of A.
@@waynegram8907 in the key of A, E would be the fifth note, so E mixolydian. Think of the notes, it’s a major scale with a b7. E F# G# A B C# D. An E major scale starting on A would be A Lydian. Think of the notes. A B C# D# E F# G#. Maybe he misspoke? Not sure without seeing the video.
@@RedHookGuitar2 I think what Reb Beach is saying in his VHS lesson is there is a short cut cheat sheet that he uses. If you're in the key of A you count up 5 notes and it will be D which if you play a D major scale this will be A mixolydian scale. If you're in the key of G you count up 5 notes which will be C which you play an C major scale it will be a G mixolydian scale. Its a way of a short cut cheat sheet so you don't have to think to much. I'm not sure how to do this cheat sheet for the other modes but the main point is if you know how to play a normal major or minor scale all you have to do is use this cheat sheet method of counting up or down from the ROOT note and playing either a major scale or minor scale to get the MODE you want. What the main point Reb Beach is saying is that all the modes are just major and minor scales the hard part is finding the parent root note of the major or minor scale to turn it into a mode. He has some cheatsheet method in his mind so when he is playing lead guitar he doesn't have to think about it much you just count up or down from the root note/key and play a major or minor scale to get that mode. Its a different way of finding the modes easier when you're playing in any key.
@@waynegram8907 it makes sense, except if you are counting up 5 notes from A, you get E, no? A (1) B (2) C (3) D (4) E (5). You can do this with any mode, as long as you know the order of modes. I have another modal video that explains this, how to find any mode from the parent scale. For example, play a C major scale. Start on the C and you get Ionian, start on the D, you get D Dorian, start on the E and you get E phrygian, etc.
Great lesson,I sat through hours of bullshit before finding your lesson,thanks
Sorry to hear that. Glad you found this video helpful!
How did the jazz guys in the 40's-70's use modes to really hear the mode tonalities? I thought the jazz guys used only 2-5-1 ii-V-I progressions and would somehow would write a modal melody that had modal tonalities, but I'm not sure how they write a modal melody line. Each mode has one altered note compared to the major or minor scale so I'm not sure how to emphasis and make my JAM sections lead lines have that modal tonalities like the jazz guys did when Jamming scales. Any Tips?
That’s a very big topic. Jazz players use a lot of color in terms of chord extensions and substitutions. There are many approaches to soloing over changes. If you take a 2 5 1 for example, the 2 chord has a Dorian sound because it’s the 2 minor chord of the key. The five chord has a mixolydian sound because it’s the 5 chord or the key. The 1 chord has an Ionian sound because it’s the 1 chord of the key. However, advanced jazz players use more than just a basic modal approach like this. They use a lot of chromaticism to connect their lines and over the 5 chord, they will often use the melodic minor scale up a half step. I would suggest studying solos from jazz players to get ideas on how to do this.
But to “outline” the sound of each chord within the mode, that’s more about being able to find the chord tones of the chord you’re playing over and use them within the mode. Practicing arpeggios, triads, and other exercises can bring out the sound of each chord within the mode.
@@RedHookGuitar2 When playing parallel modes is playing in other keys from the original key of the song. When playing relative modes its still in the same key of the original key of the song. But when playing parallel modes they are going to be in other keys and out of key notes to the original key of the song. So not sure how to use parallel modes because it has a lot of out of key notes. How did the Jazz guys use parallel modes? They are only using ii-V-I or I-IV-V?
@@RedHookGuitar2 What do you mean by using the melodic minor scale up a half step. If the V chord is a G dominant, you mean they would using G# melodic minor scale? Most classical composers used melodic minor over the V dominant chord in minor keys, not sure why tho.
Parallel modes wouldn’t apply to a 2 5 1 progression. All the chords are relative to a key. Like Dm G7 Cmaj7 are all in C major. Dorian, mixolydian, Ionian would be the modes. Parallel modes would work over a song that stays on one chord for a long time, like So What or Impressions. You could take it out by experimenting playing different minor modes over the Dm chord. They also come up in examples of borrowed harmony. An example would be a progression that goes from Gmaj7 to Gm7.
Does flatted mean flattened
yes
Everyone loves a pedant, Francis. ‘Flattened’ is what happens to roadkill . ‘Flatted’ is what happens to a musical note. The former would be non-standard in musical discourse.
@@herschoolcolors Very rarely used
@@francisdevine5773 Im sorry, what? Musicians absolutely do not say a note has been "flattened." Lol.
Damn, she cute.