You and Signals Music Studio are now my favourite channels. Very informative, but most importantly very clearly explained and demonstrated. Thanks ! Always loved mixolydian.. I have used a variation of the dominant pentatonic that uses the 4th rather than the 2(9) but I'm going to have to try out the variation you demonstrated here !
Thank you so much, i learned lot of stuff about modes but your crystal clear lessons are by far the best thing that happened to me, you deserve so much more views !
Another SLAM-DUNK vid! Great idea to include the term "Crystal Clear Lesson" in your titles...made me want to click on it immediately. Glad I did! Hope more people do too!
I always understood the “BB box” as the root on the B string position (?). In A, 10th fret. The 12th fret is the major pentatonic 2, and can be bent microtonally, or to the b3, or the major 3. Isn’t this position what is typically being referred to as the BB box? Essentially, the major pentatonic, with a b3
@@QJamTracks In your example (A7), the BB Box would be found generally around the 10th fret (find the root on the B string). G string 11th fret, B string 10 and 12, E string 10 and 12.
@@lawboss That would make sense indeed. I learned/use the box I described for changing from A7 to D7. Over the E7 chord in a A blues the box shape in the 10th position sounds great. Thanks for pointing it out to me Tom.
Very interesting Lucca! I studied some South American composers during my time at the music academy. So I'm very curious. Maybe you could put a link here in the comments to Gonzaga?
@@QJamTracks There you go! This music is known by every brazillian, You can be sure of that! From what I've heard, it was his favorite scale. Keep in mind altought this music is very famous, it's also very "local", traditional type of Music. BTW, Asa branca means "white wing" ruclips.net/video/zsFSHg2hxbc/видео.html
good video,, although there is another approach to deal with chords separately, for example in Coldplay Clocks, i would deal with chords each at its own, rather not relating all the chords to one scale (which is the mixolydian in this case). still great staff in this video.cheers
Thanks Aladdin. In Jazz it's very common to approach each chord or chord groups apart and play different scales and modes over the different chords. In a simple song like Clocks I wouldn't modulate over each chord. For me that would be a kind of excess for such a simple popsong. In more complicated music I think your approach works very well an is a much interesting way of dealing with progressions than relate all chords to one scale or key. Thanks for you comment Aladdin.
Great video. Of all the modes, it is the lydian and mixolydian that are the most confusing to me. Typical chords progression in lydian is I-II which is F- G in F lydian. Typical chords progression in mixolydian is I-VII which is G-F in F mixolydian... how can you really distinguish them?
It's what you set as a tonic in you riff. You have to make the proper tonic important. For instance by starting on that particular chord, like F in F lydian and G in G mixolydian. In your improv you can empahsize the root, the third and the characteristic note. In F lydian: F, A, B. In G mix: G, B, F. I hope this clarifies it a bit.
G-F is G myxolidian not F...keep the G as bass pedaltone and play G7 - F for the most myxo feel... Lydian is a wholetone up from the tonal center, myxolidian is a wholetone down from center...meaning the other major chord
hi first of all I appreciate the tutorials that opened my mind a lot Second I wanted to ask you in which notes it is convenient (it sounds better) for example to go from E lydian to A lydian ... and just as it would happen with other modes ... thank you very much
Hi Pablo. Any modulation is possible, but some are more obvious than others like modulating from the I tot the V. Other possibilities are modulating to the relative minor or major key or to the bIII (Emajor to G). If you preparat the modulation in the right way, everything is possible. Modes in particular are suited for more random modulations, because of the ambiguous character.
Good question. Because the chord that sounds best like an ending of the song is the D chord. That's feels like the home chord and that makes it the tonic. Although it wouldn't sound strange if you would end on the G chord. This illustrates the thin line between the major key and the modal scale that is extracted from that major sale.
@@QJamTracks Thanks for the reply. I asked my guitar teacher, and he had a very helpful tip. He said to listen to the vocal melody. If it features root, third, fifth or blue notes of D, it's most likely D Mixolydian. That means, if you improvise over the progression, you might as well use G Ionian, but it will give you a different sound and may thereby alter the tone of the song you're playing.
you list g c f as G mixolydian chords but play E D A in the demo wtf -my student is goin nuts trying to figure some of your stuff out - i liked the quartal chords have you done much on this with other modes/ scales?
I could have made an error, still if you watch de video from the beginning everyone will understand what the mixolydian mode is. Where in the video did the error - like you described - occur?
![How to Improvise Solos in Mixolydian Mode [Guitar Lesson]](http://i.ytimg.com/vi/vPIebPDBizs/mqdefault.jpg)
You and Signals Music Studio are now my favourite channels. Very informative, but most importantly very clearly explained and demonstrated. Thanks ! Always loved mixolydian.. I have used a variation of the dominant pentatonic that uses the 4th rather than the 2(9) but I'm going to have to try out the variation you demonstrated here !
So nice to be mentioned with such a great channel like Music Signals :) I think your variation can sound really well too.
Oh I def agree these 2 channels really get it Marty swartz was good for the first few years though to
Thank you so much, i learned lot of stuff about modes but your crystal clear lessons are by far the best thing that happened to me, you deserve so much more views !
Thanks Leying! Very glad to here my videos are useful 👍
Just came across this channel and I’m blown away by the content. The way you explain modal concepts is like no other.
Thank you Nyx!
Couldn't be more grateful for these massively helpful tutorials!
Best channel for understanding music theory!!!
Excellent Lesson, Smooth Moves!
Thanks Kytronn! :)
You do lessons very well. Thanks!
Well thank you Timmy!
Very impressive. Thank you so much.
Thanks Paolo for subscribing!
Now this is a damn mixolydian mode lesson!🔥🔥🔥🤘🤘🤘
Another SLAM-DUNK vid! Great idea to include the term "Crystal Clear Lesson" in your titles...made me want to click on it immediately. Glad I did! Hope more people do too!
Big fan of your channel. Dank u wel, Rob!
Dank je Raunch :) (Thanks!)
Great teacher on RUclips
Thanks Anurag!
As Always, An excellent lesson & video content,
Cheers
Eye opening! Tnanks. So Ponty.
Kudos! Well done
Thanks Enrico!
Love your videos. Excellent. Thank you.
Very helpful. Thank you
I always understood the “BB box” as the root on the B string position (?). In A, 10th fret. The 12th fret is the major pentatonic 2, and can be bent microtonally, or to the b3, or the major 3.
Isn’t this position what is typically being referred to as the BB box?
Essentially, the major pentatonic, with a b3
Great lesson; One thing; Alternative is missed spelled @8:08...
Thanks Spyder. It's hard to keep everything flawless. I should have noticed that though...
@@QJamTracks Thanks for the response. I meant no disrespect, it was just a simple error after all. Keep up the great work.
@@spyderlogan4992 It's allright man :) Thanks!
Great video. You might want to, however, re-evaluate what you described as the "B.B. (King) box (13:11). Love the channel--big fan.
Thanks Tom! I should have been more careful. I assume the assosiation with BB King isn't right? :) I'll check it out👍
@@QJamTracks In your example (A7), the BB Box would be found generally around the 10th fret (find the root on the B string). G string 11th fret, B string 10 and 12, E string 10 and 12.
@@lawboss That would make sense indeed. I learned/use the box I described for changing from A7 to D7. Over the E7 chord in a A blues the box shape in the 10th position sounds great. Thanks for pointing it out to me Tom.
Mixolydian is also very common in Brazillian Northwestern music. Luiz Gonzaga is one good start in that kinda of music.
Very interesting Lucca! I studied some South American composers during my time at the music academy. So I'm very curious. Maybe you could put a link here in the comments to Gonzaga?
@@QJamTracks There you go! This music is known by every brazillian, You can be sure of that!
From what I've heard, it was his favorite scale.
Keep in mind altought this music is very famous, it's also very "local", traditional type of Music.
BTW, Asa branca means "white wing"
ruclips.net/video/zsFSHg2hxbc/видео.html
Isnt it so much fun to stack Quartal Chords on guitar given its strings are tuned in 4ths
Exactly. I love this sound :)
Brilliant as always, I tell my buddies to watch you to spread the good word. Is Jimi Hendrix's Third Stone from the Sun Mixolydian? cheers!
good video,, although there is another approach to deal with chords separately, for example in Coldplay Clocks, i would deal with chords each at its own, rather not relating all the chords to one scale (which is the mixolydian in this case). still great staff in this video.cheers
Thanks Aladdin. In Jazz it's very common to approach each chord or chord groups apart and play different scales and modes over the different chords. In a simple song like Clocks I wouldn't modulate over each chord. For me that would be a kind of excess for such a simple popsong. In more complicated music I think your approach works very well an is a much interesting way of dealing with progressions than relate all chords to one scale or key. Thanks for you comment Aladdin.
Great video.
Of all the modes, it is the lydian and mixolydian that are the most confusing to me. Typical chords progression in lydian is I-II which is F- G in F lydian. Typical chords progression in mixolydian is I-VII which is G-F in F mixolydian... how can you really distinguish them?
It's what you set as a tonic in you riff. You have to make the proper tonic important. For instance by starting on that particular chord, like F in F lydian and G in G mixolydian. In your improv you can empahsize the root, the third and the characteristic note. In F lydian: F, A, B. In G mix: G, B, F. I hope this clarifies it a bit.
Thanks: I will try something similar, same rythm if I’m able to « feel » the difference.
G-F is G myxolidian not F...keep the G as bass pedaltone and play G7 - F for the most myxo feel...
Lydian is a wholetone up from the tonal center, myxolidian is a wholetone down from center...meaning the other major chord
hi first of all I appreciate the tutorials that opened my mind a lot
Second I wanted to ask you in which notes it is convenient (it sounds better) for example to go from E lydian to A lydian ... and just as it would happen with other modes ... thank you very much
Hi Pablo. Any modulation is possible, but some are more obvious than others like modulating from the I tot the V. Other possibilities are modulating to the relative minor or major key or to the bIII (Emajor to G). If you preparat the modulation in the right way, everything is possible. Modes in particular are suited for more random modulations, because of the ambiguous character.
I'm having a cave man learning how fire is made moment, what else could I say, thank you.
Why isn't Sweet Home Alabama considered a V-IV-I-I in G?
Good question. Because the chord that sounds best like an ending of the song is the D chord. That's feels like the home chord and that makes it the tonic. Although it wouldn't sound strange if you would end on the G chord. This illustrates the thin line between the major key and the modal scale that is extracted from that major sale.
@@QJamTracks Thanks for the reply. I asked my guitar teacher, and he had a very helpful tip. He said to listen to the vocal melody. If it features root, third, fifth or blue notes of D, it's most likely D Mixolydian. That means, if you improvise over the progression, you might as well use G Ionian, but it will give you a different sound and may thereby alter the tone of the song you're playing.
@@sedisvacantia8581 I can go with that :)
you list g c f as G mixolydian chords but play E D A in the demo wtf -my student is goin nuts trying to figure some of your stuff out - i liked the quartal chords have you done much on this with other modes/ scales?
I could have made an error, still if you watch de video from the beginning everyone will understand what the mixolydian mode is. Where in the video did the error - like you described - occur?
Master. How are you every..day
Hi Nay Tun. I'm fine :)
Thank you! x1000
Too much of information on one video.thank you for creating eye opening content
Mucho más bonita es tu música