IMPROVISATION - by Michael Furstner
Lesson 5 - THE MIXOLYDIAN MODE
______________________________________________________________________________
CONTENTS
5- 1. Basic Improvisation Principle
5- 2. The Mixolydian mode
5- 3. Mixolydian Blues
5- 4. Critical Tones
5- 5. 'Paseo'
5- 6. Improvisation
5- 7. The Woodshed
5- 8. Quiz 5 (and Answers to Quiz 4)
5- 9. Mixolydian mode Ruler
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5-1. BASIC IMPROVISATION PRINCIPLE
There is a basic guide 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 Lesson 4). 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.
(DEMO 21)
In C : C7 = C E G Bb
C Mixolydian mode = C D E F G A Bb C
Scale tones = 1 2 3 4 5 6 b7 1
In F : F7 = F A C Eb
F Mixolydian mode = F G A Bb C D Eb F
Scale tones = 1 2 3 4 5 6 b7 1
In G : G7 = G B D F
C Mixolydian mode = G A B C D E F G
Scale tones = 1 2 3 4 5 6 b7 1
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5-2. THE MIXOLYDIAN MODE
If you have a closer look at the C Mixolydian mode, you may notice that it
consists of the same notes of the F major scale. It simply starts with a
different tonic note (C).
(DEMO 22 : F major and C Mixolydian only)
F major scale
|<-------------------------->|
1 2 3 4 5 6 7 1
| |
F G A Bb C D E F G A Bb C
| |
1 2 3 4 5 6 b7 1
|<-------------------------->|
C Mixolydian mode
Likewise the F Mixolydian mode consists of the same notes as the Bb major
scale.
Bb major scale
|<-------------------------->|
1 2 3 4 5 6 7 1
| |
Bb C D Eb F G A Bb C D Eb F
| |
1 2 3 4 5 6 b7 1
|<-------------------------->|
F Mixolydian mode
And the G Mixolydian mode uses the same notes as the C major scale.
C major scale
|<------------------------->|
1 2 3 4 5 6 7 1
| |
C D E F G A B C D E F G
| |
1 2 3 4 5 6 b7 1
|<------------------------->|
G Mixolydian mode
Therefore a Mixolydian mode can be formed from any major scale by starting on
the 5th note on that scale.
Although the major scale and related Mixolydian mode use the same notes, they
still sound different because the semitone intervals of the scale occur at
different points in relation to the tonic. This is a vital difference.
C major scale
|<----------------------->|
1 2 3--4 5 6 7--1
| |
C D E--F G A B--C D E--F G
| |
-- : semitone 1 2 3--4 5 6--b7 1
|<----------------------->|
G Mixolydian mode
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.
You may find it easiest to think of a Mixolydian mode as a Major scale (on the
same tonic note) with a b7. In time you perhaps become comfortable with
displaced tonic principle.
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5-3. MIXOLYDIAN BLUES
In Mixolydian Blues the appropriate Mixolydian mode is used for each chord.
For the Blues in C use :
over C7 the C Mixolydian mode : C D E F G A Bb C
over F7 the F Mixolydian mode : F G A Bb C D Eb F
over G7 the G Mixolydian mode : G A B C D E F G
(DEMO 23)
PRACTICE ROUTINE
C7 (I7) C7 (I7)
----------------------------------------------------------------------
| C D E F G A Bb c |Bb A G F E D C |C D E F G A Bb c |Bb A G F E D C |
| 1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 |
----------------------------------------------------------------------
F7 (IV7) C7 (I7)
------------------------------------------------------------------------
| F G A Bb c d eb f |eb d c Bb A G F |C D E F G A Bb c |Bb A G F E D C |
| 1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 |
------------------------------------------------------------------------
G7 (V7) C7 (I7)
----------------------------------------------------------------------
| G A B c d e f g |f e d c B A G |C D E F G A Bb c |Bb A G F E D C ||
| 1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 |1 + 2 + 3 + 4 + |1 + 2 + 3 + 4 ||
----------------------------------------------------------------------
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5-4. THE CRITICAL TONES
Let us compare the C- and F-Mixolydian modes for the Blues in C.
C Mixol.mode : C D E F G A Bb c
F Mixol.mode : F G A Bb C D Eb f
A practical person might say :
"Look, both scales have the C D F G A and Bb in common. I will stick with
these notes for my improvisation over all the C7 and F7 chords
and don't have to worry about anything else."
This is true, but it ignores the essential point of improvisation, which is :
to reflect the chord changes in your improvisation !!
You should identify the notes THAT ARE DIFFERENT from one scale to the next
and focus on those in your improvisation.
Going from the C- to the F-Mixolydian mode (or vice versa) these CRITICAL
TONES are the E and Eb.
C Mixol.mode : C D (E) F G A Bb c
F Mixol.mode : F G A Bb C D (Eb) f
Going from the C- to the G-Mixolydian mode (or vice versa) the CRITICAL TONES
are the Bb and B.
C Mixol.mode : C D E F G A (Bb) c
G Mixol.mode : G A (B) C D E F g
Going from the G- to the F-Mixolydian mode (or vice versa) the CRITICAL TONES
are the B <---> Bb, and E <---> Eb.
G Mixol.mode : G A (B) C D (E) F g
F Mixol.mode : F G A (Bb) C D (Eb) f
So in an entire Mixolydian Blues chorus there are only two notes that change.
For the Blues in C : E <-----> Eb and Bb <-----> B
You can easily identify these notes for the blues in any key, for they are the
3rd and b7th of the I7 chord.
The 3rd is flattened and the b7th is raised :
C7 : C E G Bb Critical tones : E <-----> Eb and Bb <-----> B
1 3 5 b7 3 b7
G A (B) C D (E) F G
C D (E) F G A (Bb) C D (E) F G A (Bb) C
F G A (Bb) C D (Eb) F
For the Blues in F the Critical tones are :
F7 : F A C Eb Critical tones : A <-----> Ab and Eb <-----> E
1 3 5 b7 3 b7
C D (E) F G (A) Bb C
F G (A) Bb C D (Eb) F G (A) Bb C D (Eb) F
Bb C D (Eb) F G (Ab) Bb
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5-5. PASEO
As a young student I used to spend 2 or 3 months in Spain each year to do
fieldwork for my Masters Degree in Geology. I carried out Geology studies in
the Pyrenees, Asturias and Galicia, and generally had a fantastic time there.
(Tall, rather thin and with a crooked nose I was called 'Don Quichote'. I am
still very proud of this nickname, for Don Quichote has been the ultimate
Spanish hero ever since its creation by Cervantes some 600 years ago. He will
remain so as long as Spanish culture exists.)
One of the daily events I enjoyed most was the PASEO (means 'walk' in
Spanish). After their siesta the inhabitants of most cities in Spain dress up
and go for a stroll up and down the main street. Many groups of girls walk arm
in arm past the many street walk cafes where they are eagerly observed and
admired by the patrons.
PASEO is a 12 bar blues format in Bossa style.
Play therefore all quavers STRAIGHT (NOT in swing style).
The melody is composed of Mixolydian modes.
Note how the Critical tones (E, Eb, B, Bb) are covered in the melody.
(DEMO 24)
PASEO
(by Michael Furstner)
C7 (I7) C7 (I7)
-----------------------------------------------------------------
4 e f g c d e | Bb c d G a Bb | E G A Bb A E G | |
4 1 + 2 + 3 + 4 | 1 + 2 + 3 + 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 |
-----------------------------------------------------------------
F7 (IV7) C7 (I7)
-----------------------------------------------------------------
4 eb f g c d eb | A Bb c F G A | E G A Bb A G e | |
4 1 + 2 + 3 + 4 | 1 + 2 + 3 + 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 |
-----------------------------------------------------------------
G7 (V7) C7 (I7)
-----------------------------------------------------------------
4 d e f B c d | F G A B f d | e d c Bb G d c | |
4 1 + 2 + 3 + 4 | 1 + 2 + 3 + 4 | 1 + 2 + 3 + 4 + | 1 2 3 4 |
-----------------------------------------------------------------
Copyright 1997 Michael Furstner.
(Remember, sustain each note until the next note.)
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5-6. IMPROVISATION
Defining and using the Critical tones in the chord progression of a song is a
most important in selecting the notes in your improvisation. It applies to all
songs that are composed of more than one scale.
The Blues is a good vehicle to start practising the Critical tones concept.
First play Critical tones ONLY.
C7 C7
------------------------------------------
4 E | E | E | E E |
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
------------------------------------------
F7 C7
------------------------------------------
4 Eb | Eb Eb| E | E Bb|
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
------------------------------------------
G7 C7
------------------------------------------
4 B | B B | Bb | Bb |
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
------------------------------------------
Then, when you have the sound of this progression in your ear, start with
simple improvisations that contain these Critical tones.
Start with the Blues in C. Then do the same for the Blues in G, F and Bb.
You can also have a go at the EMBELLISHED BLUES format.
This adds the IV7 chords in bars 2 and 10, and uses a V7 chord as a
'Turnaround'' in bar 12.
(DEMO 25)
EMBELLISHED BLUES
(critical Tones)
C7 F7 C7
------------------------------------------
4 E E | Eb Eb| E | E E |
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
------------------------------------------
F7 C7
------------------------------------------
4 Eb | Eb Eb| E | E Bb|
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 |
------------------------------------------
G7 F7 C7 (G7)
------------------------------------------
4 B E | Eb Eb| E Bb| B ||
4 1 2 3 4 | 1 2 3 4 | 1 2 3 4 | 1 2 3 4 ||
------------------------------------------
Play-a-Longs for both the Basics Blues and Embellished Blues are in the
Improvisation Studio for you to download.
Here five more Rhythm Patterns.
Play them first with a single note to get the Jazz rhythm. Then apply them in
your improvisation.
(DEMO 26)
Pattern 21
--------------------------------------------------------------
4 O | o o o o - | O | o o o o - |
4 1 2 3 4 | 1 + 2 + 3 4 | 1 2 3 4 | 1 + 2 + 3 4 |
--------------------------------------------------------------
Pattern 22
--------------------------------------------------------------
| O o o | o o - | O o o | o o - |
| 1 2 3 4 + | 1 + 2 3 4 | 1 2 3 4 + | 1 + 2 3 4 |
--------------------------------------------------------------
Pattern 23
---------------------------------------------------------------
| O O | o o - O | O O | o o - O |
| 1 2 + 3 4 | 1 + 2 + 3 4 | 1 2 + 3 4 | 1 + 2 + 3 4 |
---------------------------------------------------------------
Pattern 24
-------------------------------------------------------------
| O o O | O o O | O O o O | |
| 1 2 + 3 4 | 1 2 + 3 4 | 1 2 3 + 4 + | 1 2 3 4 |
-------------------------------------------------------------
Pattern 25
----------------------------------------------------------------
| o o - o o - | o o - O | o o - o - O | o o - O |
| 1 + 2 + 3 + 4 | 1 + 2 + 3 4 | 1 + 2 + 3 + 4 | 1 + 2 + 3 4 |
----------------------------------------------------------------
Music notation for Rhythm Patterns 21-25
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5-8. THE WOODSHED
Start practice on the Mixolydian mode in all keys.
First priority are the major scales in A, D, G, C, F and Bb
Then add the others : Eb, Ab, Db, Gb, B, E
Work on the following exercise :
(DEMO 27)
<-------- play 3 times --------->
--------------------------------------------------------------
4 C D E F G A Bb c | d c Bb A G F E D :|| C | |
4 1 + 2 + 3 + 4 + | 1 + 2 + 3 + 4 + || 1 2 3 4 | 1 2 3 4 |
--------------------------------------------------------------
Take special note of the 1 note that is different from the major scale, the b7
(Bb in C Mixolydian mode).
Good luck. See you next Lesson,
Michael.
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5-8. QUIZ
A.
Convert these major scale into Mixolydian modes with the same tonic note (1st
note) by altering one note of the scale.
1. F G A Bb C D E F
2. D E F# G A B C# D
3. Bb C D Eb F G A Bb
4. G A B C D E F# G
5. E F# G# A B C# D# E
B.
Convert these major scales into Mixolydian modes by using all the same notes
and placing them in the correct order.
1. F G A Bb C D E F
2. D E F# G A B C# D
3. Bb C D Eb F G A Bb
4. G A B C D E F# G
5. E F# G# A B C# D# E
C.
Which Mixolydian mode consists of white notes on the keyboard only ?
D.
Fill in the missing notes in these Mixolydian modes.
1. A B ? D E F# ? A
2. D E ? G A B ? D
3. F G ? Bb C D ? F
4. Eb F ? Ab Bb C ? Eb
5. B C# ? E F# G# ? B
ANSWERS IN NEXT LESSON
--------------------------------------
Answers to Quiz 4
A.
Convert the following major pentatonic scales into minor pentatonic scales.
1. Bb C D F G Bb -------> G Bb C D F G
2. Ab Bb C Eb F Ab -------> F Ab Bb C Eb F
3. F G A C D F -------> D F G A C D
4. G A B D E G -------> E G A B D E
5. Gb Ab Bb Db Eb Gb -------> Eb Gb Ab Bb Db Eb
B.
Unscramble these minor pentatonic scales.
1. F D A C G -------> D F G A C D
2. Bb F G C Eb -------> C Eb F G Bb C
3. C Eb Bb F Ab -------> F Ab Bb C Eb F
4. A E D B G -------> E G A B D E
5. C Bb G F D -------> G Bb C D F G
C.
Convert these minor pentatonic scales into Blues scales by adding 1 note to
each scale.
1. D F G (Ab) A C D
2. Bb Db Eb (E) F Ab Bb
3. G Bb C (Db) D F G
4. A C D (Eb) E G A
5. E G A (Bb) B D E
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5-9. MIXOLYDIAN MODE RULER
The Mixolydian mode Ruler works in the same way as the Major scale Ruler.
Use the strips below to find the notes of the Mixolydian mode in any key.
Align the Tonic note of the required Mixolydian mode on the LETTER STRIP
with the '1' on the 'Mixolydian mode' strip
LETTER STRIP
C# D# F# G# A# C# D# F# G# A# C#
C Db D Eb E F Gb G Ab A Bb B C Db D Eb E F Gb G Ab A Bb B C Db
| | | | | | | | |
| 2 | 4 | 6 | 8 |
1 3 5 b7 9
MIXOLYDIAN MODE STRIP
For example, to find the A Mixolydian mode and A7 chord :
align A on the LETTER STRIP with 1 on the MIXOLYDIAN MODE STRIP
LETTER STRIP
C# D# F# G# A# C# D# F# G# A# C#
C Db D Eb E F Gb G Ab A Bb B C Db D Eb E F Gb G Ab A Bb B C Db
--------> | | | | | | | | |
| 2 | 4 | 6 | 8 |
1 3 5 b7 9
MIXOLYDIAN MODE STRIP
Now read the A Mixolydian mode : A B C# D E F# G A B
1 2 3 4 5 6 b7 8 9
And the A7 chord : A C# E G (B)
1 3 5 b7 (9)
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Copyright 1997 Michael Furstner. All rights reserved.
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