Woodshed 3 Mixolydian mode Practice Scale-Chord relation in Improvisation The Mixolydian mode Practice Routines Mixolydian mode in 12 keys Quiz and Quiz Answers Downloading Bay Jazclass Links - Circle of Fifths

WS 3.1 - Scale-Chord relation in Improvisation

There is a basic rule in improvisation which says :

For improvisation over a C7 chord for example, you can use any scale that contains the C7 chord tones : C - E - G - Bb.

The simplest way you can produce a C dominant scale is to take the C major scale, flatten the 7th note of that scale (B to Bb), and "Bingo !", you have a fit with the C7 chord tones :

Producing an F dominant scale works in the same way.
Take the F major scale, flatten the 7th note (E to Eb), and you have a fit with the F7 chord :

F - G - A - Bb - C - D - Eb - F

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WS 3.2 - The Mixolydian mode

Let us have a second look at this C dominant scale we just created.
It looks rather familiar, don't you think ?

Audio 1

Ah ! Of course, it has the same notes as the F major scale.
Look :

Audio 2


The notes in both scales are the same, but the tonic note of each scale is different.
We call this C dominant scale the C Mixolydian mode.

A mode is a displaced scale. It uses the same notes as the parent scale but starts on a different note. Although the two scales use the same notes they sound different because the two semitone intervals are at different positions in relation to the tonic of each scale. This is not the place to discuss modes in detail, we do that in the Jazz Theory II Course. The main thing to remember is how to form this scale : take the major scale flatten the 7th note of the scale this produces the Mixolydian mode, which is the most commonly used scale for improvisation over a dominant 7th chord. (This is in the beginning easier to think of than figuring out to which major scale the mode belongs. In time the two concepts will merge in your mind.)

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WS 3.3 - Practice Routines

The good news about Mixolydian mode practice is that you have already done plenty of practice on it when you were working on the major scales. The tone sequences for both mode and scale are the same. Only the starting point is different.
Here are three Practice routines which help you to learn the Mixolydian mode in each key and to establish the chord - scale relationship.

Routine 1
Play the mode up to the 9th (= 2nd note of the scale 1 octave up) and back down to the tonic. Three times up and down, then sustain the tonic note for two bars. This gives you time to focus your mind on the mode in the next key.

Audio 3

The bass alternates each eight bars, playing in 4 and 2 to the bar.

Routine 2
Play the mode up to the 9th and then down in chord tones to the tonic. Four times up and down (2 times as written below) , then sustain the tonic note for two bars.

Audio 4

Routine 3
Play the chord tones up to the 9th and then down in Mixolydian mode to the tonic. Four times up and down (2 times as written below) , then sustain the tonic note for two bars.

Audio 5

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WS 3.4 - The Mixolydian mode in 12 Keys

The Table below contains the notes of the 7th chord and its related Mixolydian mode in all keys.

WS 3.5 - Quiz

A.
Transform the following major scales into Mixolydian modes by altering one note in the scale.

1. G - A - B - C - D - E - F# - G

2. D - E - F# - G - A - B - C# - D

3. Bb - C - D - Eb - F - G - A - Bb

4. Db - Eb - F - Gb - Ab - Bb - C - Db

1. Bb - C - D - F - Eb - G - A

2. B - A - C# - E - G - D - F#

3. C - E - Bb - G - F - A - D

4. F - C - D - E - G - B - A

1. F - G - A - Bb - C - D - Eb

2. G - A - B - C - D - E - F

3. E - F# - G# - A - B - C# - D

4. Bb - C - D - Eb - F - G - Ab

1. A - F - Eb - C

2. E - F# - C# - A#

3. G - A - C# - E

4. A - D# - B - F#

5. G - Eb - Db - Bb

6. D - Ab - Bb - F

WS 3.6 - Downloading Bay