GUITAR SOLOING #014 - Soloing with Mixolydian Mode



December 08, 2017:
Lesson 014 - Soloing with Mixolydian Mode

The Mixolydian mode is our most valuable sound for covering the Dominant 7th chord quality. 

Since this scale offers us the coverage for the Dominant chord it is an important part of both our composition and improvisation tool kits for many different styles of music... 

Lesson 014 explores this... 

In Part One of the lesson, we'll study how to use Mixolydian as it functions off of some very unique modal harmony applications. In Part Two of the lesson, we'll practice more advanced applications of Mixolydian with "V-Minor" and "VII Major" resolution concepts. Plus, we'll also explore how Mixolydian is the perfect way to cover non-functioning Dominant 7th chords.

Watch the Part One Video FREE on YouTube:



PART ONE:  In example one, a "C Mixolydian" modal progression is using the tonic chord of "C Maj." and dropping back a whole step to it's "VII-chord" (Bb Maj.). In example 1a, I've composed a 2-bar progression that you can learn and then record for jamming over. In example 1b, I've included a short melody line that is composed from out of the "C Mixolydian" mode.

Example two applies a similar harmony as was used in example one, where the Mixolydian's "I-Chord" (E), moves into the, "VII-chord" (D/E). This time our harmony is from "E Mixolydian." However, the main difference in example two lies in the addition of the tonics "Dominant 7th" chord (E7). The progression focuses on how the addition of a "Dominant 7th" highlights the effects of the Mixolydian color.
 




PART TWO:
In example one, a "C Mixolydian" modal progression is using the tonic chord of "C Maj." and dropping back a whole step to it's "VII-chord" (Bb Maj.). In example 1a, I've composed a 2-bar progression that you can learn and then record for jamming over. In example 1b, I've included a short melody line that is composed from out of the "C Mixolydian" mode.

Example two applies a similar harmony as was used in example one, where the Mixolydian's "I-Chord" (E), moves into the, "VII-chord" (D/E). This time our harmony is from "E Mixolydian." However, the main difference in example two lies in the addition of the tonics "Dominant 7th" chord (E7). The progression focuses on how the addition of a "Dominant 7th" highlights the effects of the Mixolydian color.


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The chord progression in example four does not function harmonically within one single tonality. The first two measures (D7sus4, D7), can be covered using the, "D Mixolydian," mode. However, in the next two measures, the chords (Bb/C and C7add9) do not relate to the first two measures harmony. They would need to be covered by using, "C Mixolydian."


Paid members can download the handout along with the MP3 jamtrack in the members area at: CreativeGuitarStudio.com

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