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Blues Lesson 8
MIXOLYDIAN BLUES

  1. The Principle of Improvisation
  2. The Mixolydian mode
  3. Mixolydian Blues Practice
  4. Come with Me (song)
  5. Improvisation
  6. 'Dirty' Mixolydian Blues
  7. Mixolydian mode Ruler
  8. Quiz - Quiz Answers
  9. Exercises
  10. Lesson Material

    Library - Keyboard Comping


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BL 8.1 - The Principle of Improvisation

There is a basic guide for improvisation that says :

Any scale that contains the chord tones of a chord,

can be used for improvisation over that chord.

There are some exceptions to this rule. Notably the use of the Minor pentatonic and Blues scales over the whole blues progression (as we have seen in previous lessons). But in general this guide holds true.

For improvisation over the dominant 7th chord, the most commonly used scale is the Mixolydian mode.
The Mixolydian mode is easiest described as a major scale with a flattened 7th note.

Audio 8.1
(Click on any staff to hear its Audio)
lesson09/bl0901.gif


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BL 8.2 - The Mixolydian mode

If you have a closer look at the C Mixolydian mode, you will notice that it contains the same notes as the F major scale. The Mixolydian mode only starts on a different tonic note (C).

Audio 8.2
lesson09/bl0902.gif

Likewise the F Mixolydian mode consists of the same notes as the Bb major scale,

Audio 8.3
lesson09/bl0903.gif

and the G Mixolydian mode uses the same notes as the C major scale.

Audio 8.4
lesson09/bl0904.gif

Therefore a Mixolydian mode can be formed from any major scale by starting on the 5th note of that major scale.

Although the major scale and related Mixolydian mode use the same notes, they still sound differently because the semitone intervals of the scale and mode occur at different points in relation to the tonic. This is a vital difference.

lesson09/bl0905.gif

In a major scale the semitones are between notes 3 and 4, and between 7 and 1.

In the Mixolydian mode they occur between 3 and 4, and between 6 and b7.

The tonic (1st note) of a scale or mode, or the root (bottom note) of a chord represent the focal point ('key centre') at that point in the music.
Every other note is perceived by the listener in relation to that focal point. For example :
  • Within the F major scale (or a melody segment with F as key centre) a Bb will be perceived by the listener as a perfect 4th interval.

  • Within the C Mixolydian mode (or a melody segment with C as key centre) a Bb will be perceived by the listener as a minor 7th interval.

You will probably find it easiest to think of a Mixolydian mode as a Major scale (starting on the same tonic note) but with a b7. In time you may become more comfortable with the displaced tonic principle.


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BL 8.3 - Mixolydian Blues Practice

In Mixolydian Blues the appropriate Mixolydian mode is used for each individual chord of the blues.
For the Blues in C use :

C Mixolydian mode over C7 C D E F G A Bb C
F Mixolydian mode over F7 F G A Bb C D Eb F
G Mixolydian mode over G7 G A B C D E F G

Audio 8.5
lesson09/bl0909.gif

Play-along tracks for the Blues in C (all instrument use the C, F and G Mixolydian modes).

  • C- instruments use bblc.mid (or any other track in C)
  • Bb- instruments use bblbb.mid (or any other track in Bb)
  • Eb- instruments use bbleb.mid (or any other track in Eb)

C-instruments also practise above routine for the blues in F and in G.

Bb-instruments also practise above routine for the blues in G and in A.

Eb-instruments also practise above routine for the blues in D and in E.


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BL 8.4 - Come with Me

There are no 'blue notes' in the Mixolydian modes that clash with the blues chords. The b7 in the mode always coincides with a corresponding chord tone.
Blues melodies and improvisations that use Mixolydian modes have therefore a very clean and clear sound which contrasts sharply with the usual 'dirty blues'.

The Mixolydian modes can provide a strong musical contrast to the blues scale in a blues improvisation. This is most useful when soloing for several choruses. You can start for example with a couple of choruses using the minor pentatonic, follow it by adding the 5b (blues scale), then come clean with a few choruses using Mixolydian modes.

Come with Me features a blues melody entirely composed of notes from the three underlying Mixolydian modes.

Melody
lesson09/bl0908.gif

Play-along tracks for the Blues in C (all instrument use the C, F and G Mixolydian modes).

  • C- instruments use bblc.mid (or any other track in C)
  • Bb- instruments use bblbb.mid (or any other track in Bb)
  • Eb- instruments use bbleb.mid (or any other track in Eb)

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BL 8.5 - Improvisation

The choice for the first note you play in a musical phrase is important, for it sets the direction for a whole phrase. It is therefore essential to gain good control over this, so that you are able to start a phrase on any note that comes to your mind.

Chord tones are usually the strongest notes to start on, especially the 3rd, 5th, 7th and 9th of the chord.
The 1st (root) is also a strong starting note, but rather predictable. Use it therefore only sparingly.

Practise the following disciplined routines over the blues progression.
Use appropriate Mixolydian modes throughout.


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1.
Start every 4-bar phrase you play on the root of the chord.
For the Blues in C :
| C | | | |
| F | | | |
| G | | | :||


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2.
Start every 4-bar phrase you play on the 3rd of the chord.
For the Blues in C :
| E | | | |
| A | | | |
| B | | | :||


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3.
Start every 4-bar phrase you play on the 5th of the chord.
For the Blues in C :
| G | | | |
| C | | | |
| D | | | :||


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4.
Start every 4-bar phrase you play on the b7th of the chord.
For the Blues in C :
| Bb | | | |
| Eb | | | |
| F | | | :||


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5.
Start every 4-bar phrase you play on the 9th of the chord.
For the Blues in C :
| D | | | |
| G | | | |
| A | | | :||

Play-along tracks for the Blues in C (all instrument use the C, F and G Mixolydian modes).

  • C- instruments use bblc.mid (or any other track in C)
  • Bb- instruments use bblbb.mid (or any other track in Bb)
  • Eb- instruments use bbleb.mid (or any other track in Eb)
This exercise gives you great awareness of the "good" notes to start or finish on, or to use for emphasis over each chord. Try the same approach for the blues in other keys.

6.
Swapping 2s and 4s on the basic blues in C : complete improvisation

  • Take 1 (10 choruses) - : I play the first 2 bars of each 4-bar phrase, you play the following 2 bars.

  • Take 2 (10 choruses) - : You play the first 2 bars of each 4-bar phrase, I play the following 2 bars.

  • Take 3 (10 choruses) - : I play the first 4 bars, you play the following 4 bars.

  • Take 4 (10 choruses) - : You play the first 4 bars, I play the following 4 bars.


Improvise using Mixolydian modes only.     Swing style.


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BL 8.6 - 'Dirty' Mixolydian Blues

You can introduce some 'dirty blues' into the Mixolydian modes by adding a few chromatic passing notes.

The blue notes (b3, b5 and b7) for each of the three chords are especially effective.
The b7 is already in the Mixolydian mode, just add the other two notes :

Audio 8.6
(Click on anu staff to hear its Audio)
lesson09/bl0909.gif

Other chromatic passing notes can also be used.
Approaching scale tones from a semitone above or below is appropriate for the Blues, as it simulate the 'bending' of notes, a prominent feature of the earliest blues singers.


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BL 8.7 - Mixolydian mode Ruler

This Ruler works in the same way as the Rulers from previous Lessons.
Use the Mixolydian mode Ruler shown below to find the notes of the Mixolydian mode in any key by aligning the Tonic note of the required mode on Note Names ruler with the '1' on the MIxolydian mode ruler.

bllib/blr09mix.gif

For example, to find the E Mixolydian mode :

  1. first align 'E' with '1'

  2. then read the E Mixolydian mode : E F# G# A D C# D E

lesson09/bl0910.gif


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BL 8.8 - Quiz

A.
Convert these major scales into Mixolydian modes by changing one note in each scale.

  1. G A B C D E F# G
  2. E F# G# A B C# D# E
  3. Bb C D Eb F G A Bb
  4. D E F# G A B C# D
  5. B C# D# E F# G# A# B
B.
Convert these major scales into Mixolydian modes by selecting a different tonic note but using all the same notes.
  1. G A B C D E F# G
  2. E F# G# A B C# D# E
  3. Bb C D Eb F G A Bb
  4. D E F# G A B C# D
  5. B C# D# E F# G# A# B
C.
Unscramble these Mixolydian modes.
  1. C F Eb Bb G A D
  2. A C G F D E B
  3. Ab Eb Bb F G D C
  4. F# D C A B E G
  5. A C F Bb D E G
D.
Name the b7 note of these Mixolydian modes.
  1. C Mixolydian mode
  2. Bb Mixolydian mode
  3. D Mixolydian mode
  4. F Mixolydian mode
  5. G Mixolydian mode
E.
Identify the missing notes in these Mixolydian modes.
  1. Bb C D ? F ? ? Bb
  2. D ? ? G A B ? D
  3. Ab ? C ? ? F Gb Ab
  4. E F# ? A B ? ? E
  5. ? ? D# E F# G# A ?
F.
Find the following Mixolydian modes with the use of the Mixolydian mode Ruler.
  1. Ab
  2. D
  3. Eb
  4. B
  5. Bb
Quiz Answers


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BL 8.9 - Exercises

Practise the Mixolydian mode around the Circle of 5ths as shown below (4 bars in each key).

Demo
lesson09/bl0911.gif


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BL 8.10 - Lesson Material

Mixolydian mode Ruler
Ex.10 - Mixolydian mode - p.2 Demo 4 bars each key
Come with Me (in C) Melody Play-a-Long in C for Bb instr. in C for Eb instr.
Swapping 2s on Blues in C Demo me 1st you 1st
Swapping 4s on Blues in C me 1st you 1st

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Copyright © 2011 Michael Furstner (Jazclass). All rights reserved.